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From Peruzzt's Oil Portrait of Himself 


Probably painted during the intimacy of Raphael and Peruzzi in Rome before 1515; 


unknown to earlier writers; at the sale by the American Art Galleries, of the pictures 
of the Davanzati Palace and Villa Pia collections of Professor Commendatore Elia 
Volpi of Florence, at the Holel Plaza, New York City, November 27, 1916, sold to 
Warwick House (Messrs. Soldwedel and Hofer), for Jackson Johnson, St. Louis, Mo. 


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THE LIFE AND WORKS 


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By WILLIAM WINTHROP KENT 


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PUBLISHED BY 
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Paul Wenzel and Maurice Krakow 
SISEAS Tithe STREET. 


: NEW YORK 


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* PERUZZI * 


ARCHITECT 
PAINTER 
ENGINEER 


Portrait Drawn by Peruzzi of Himself 
In His Sketch Book in the Public Library of Siena 


“He may truly be said never to have had 
an equal in Architecture’ —Vasari. 


“Architetto Universale’”—Lomazzo. 
<’This most excellent master’”—MMzlanesi. 


“Hino ad essere anteposto a Bramante”’ 
—[anzt. 


“Le plus elegant, le plus fin, le plus 1n- 
dependant des architectes qui chercherent 
fortune a Rome”—Eugene Muntz. 


“Forse il piu perfetto architetto del Rin- 
ascimento’— Domenico Gnolt. 


“The greatest architect of the Renais- 
sance —Sir Reginald Blomfeld. 


BZ 


THE J. PAUL GETTY CENTER 
LIBRARY 


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Table of Contents 


CHAPTER 
I. Siena, 1480-81—1503 
II. Rome, 1503-11 . 
III. Rome, 1511-14. 
IV. Rome—Carpi—Todi, 1514-22 
V. Bologna, 1522 
VI. Siena, 1507-23—Viterbo—Ferento 
VII. Rome—Ferrara, 1523-27—Siena, 1527-30 
VIII. Rome, 1530-1—Siena, 1531-2—Rome, 1532-6 
IX. Review of Peruzzi’s Qualities and Methods-—Neglect of His 


Tomb—Signor Gnoli’s Suggestion—Increase of His Fame 
The Peruzzi Genealogy 
Bibliography ae Vote a 
List of Works Attributed to Peruzzi 


PREFACE 


Some thirty years ago the writer first saw Baldassare Peruzzi’s Pollini 
Palace, the Carmine tower and other works of beautiful and individual char- 
acter at Siena. Admiration of their architectonic and scholarly qualities was 
strengthened later by study of the Massimi, Farnesina and other palaces built 
by him in Rome and elsewhere, for all are of interest, many of great merit 
and some are masterpieces. 

Keen critics have praised Peruzzi’s designs in architecture, painting and 
engineering, great artists have studied them with profit. Lanzi says of him, 
“Living in the brightest period of modern art he is one of the most interest- 
ing personages in its history,” yet a fully illustrated account of his life and 
works has never been published. It would be hard to plan more absorbing 
and instructive work than the collecting of all possible data about him 
through travel and research. ‘This has opened for the writer many new 
paths to study of the Renaissance. It seemed, moreover, as if this long-stand- 
ing neglect of a great artist might be remedied and possible assistance given 
to future designers, travelers and students who could not personally view all 
his buildings and sketches, and so, during several visits to Italy, search for 
all matters pertaining to him began. Many unrecorded traces of his work and 
influence gradually presented themselves; buildings heretofore unpublished, 
in and around Siena and elsewhere; sketches in the Uffizi hardly known to 
modern writers; drawings and photographs in America and Europe and a 
likeness or two never yet reproduced, besides buildings which as at Carpi and 
Bologna seemed to show his hand. 

His chief works are described, as far as possible, chronologically, but it is 
dificult to make more than careful guesses at the date of certain of his build- 
ings and frescoes. 

The author wishes to acknowledge the kind help which he received from 
Mr. Edward R. Smith, Avery Library, New York; Prof. Stevens, head of the 
American Academy in Rome; Prof. Achille Bertini Calosso, of the Borghese 
Gallery, Rome; Prof. Vittorio Mariani, architect, of Siena, who knows some 
of the present owners of Peruzzi’s buildings; Signor Mieli of Siena; Prof. 
Edoardo Collamarini, head of the Bologna School of Architecture; Cav. Um- 
berto Olivieri, Rome; Mr. H. Nelson Gay, Rome; Mr. F. H. Bacon and 
Mr. W. H. Kilham, Boston, Mass.; Mr. Claude Bragdon; Mr. Lawrence 
Grant White of New York, in the loan of Peruzzi’s own drawings; Mr. 
Jackson Johnson, St. Louis; and Warwick House, New York City. ‘The 
excellent photographs of Messrs. Moscioni of Rome; “Poppi”, i.e. Zagnoli, of 
Bologna; Lombardi of Siena; Braun of Paris; Alinari & Cook, Anderson 
Brogi, Danesi and others of Rome, have been of great help for study, the use 
of many for illustration has been freely given and due thanks and credit are 
returned herewith. 


Lawrence Park, Bronxville, N. Y., 1925. 


THE LIFE AND WORKS 


OF 


BALDASSARE PERUZZI 


CHAPLIER «1 
SIENA—1 480-8 1— 1503 


On the 7th of March, 1480 (1481, common style),! during the pon- 
tificate of Sixtus IV., there was baptized in the City of Siena, Tuscany, 
Baldassare Peruzzi, destined to play an important part in the development of 
the Renaissance. 

‘There has been in the past much argument as to the place of his birth 
and altho’ Volterra, Florence, Siena, and Ancaiano have claimed him, Gaetano 
Milanesi, a compatriot discovered that the baptismal registry at Siena shows 
that he was baptized there. 

In confirmation of this there has reached the writer, through the kindness 
of Professor Mariani of Siena, a transcript of the record in the Archives of 
Siena, reading as follows: (Translation) “Year 1480—folio 458. Baldassare 
‘Thommaso son of Giovanni di Salvestro da Volterra was baptized on the 
seventh of March; Jacomo da Piemonti was godfather.” Which conforms 
closely to Milanesi’s transcript.? 

The village of Ancaiano, a small settlement on a hillside near Cetinale 
about seven miles from Siena, is often mentioned by early writers as Peruzzi’s 
actual birthplace. Among these Guglielmo della Valle in his “Sienese Let- 
ters’ (Rome 1786) states that Giulio Mancini in his treatise on painting, 
speaking of the country of this artist gives the following information: “I 
think, in brief, that certain things which he (Vasari) says of Baldassare 
Peruzzi, whom he tries to prove a native of Volterra of Florentine origin, 
and some other things, do not correspond to the truth, because he was in fact 
born at Accaiano, villa of the court of the Castello di Sovicello, a diocese of 
Volterra perhaps, but of the state of Siena, and distant from that city, six 
or eight miles, a relative of Meccarino* as I heard long ago from Maestro 
Alessandro della Rocca, then an old man of eighty years, but of excellent 


1 Stegmann and Von Geymiller say ‘15th of January, 1480.” ‘Die Architektur der Renais- 
sance in ‘Toscana.’ 

2 Milanesi’s edition of Vasari’s “Lives.” 

In MS “Ragguaglio delle cose di Siena.” 

4 Domenico Beccafumi, called Micarino, Meccherino or Meccarino, eminent as a painter and 
sculptor, was born 1484-6, at or near Siena. He took his name from a man who noticed his early 
talent who may have been the one to whom Mancini here refers. Vasari says that Peruzzi and 
Beccafumi were intimate. 


2 LOTTE EO ANG DAG HR Rese 


memory and a friend of one and another goldsmith, so that one must not 
doubt that he was Sienese.”’ . 

It seems as if there must have been some basis for such a tradition as 
this. Could it have been that Peruzzi actually saw the light in Ancaiano 
and was carried to Siena proper for baptism for lack of a local church in the 
little nearby settlement? It is not impossible. Mancini was physician to 
Pope Urban VIII. and a man of education and standing, who probably trans- 
mitted the story exactly as he heard it. ‘The persistence of this tradition is 
also shown by the following letter received from a descendant of Peruzzi, 


“Ancaiano (Sovicille) July 8-1915 
Most Worthy Sir: 

Baldassare Peruzzi was born at Ancaiano and there still remains an 
old tower where tradition says he lived. ‘The existing family is descended 
from the architect Peruzzi—of them I am now the only one here, the others 
have gone away. 

The local church is not the work of Peruzzi, but of Fontana who de- 
signed also, in 1667, the villa of Cetinale, belonging to the Chigi family. 

The villa of Vico Bello (near Siena) always of the house of Chigi, 
was built from the designs of Peruzzi. If other better information should 
be needed be assured that I would be able to make it my business to secure it. 

Greetings from thy friend, 
Cesare Peruzzi 
Tobacconist.” 


Unless, however, later documents are found to establish other facts, 
Siena proper must be accepted as the baptismal and as probably the birth 
place. 

Although Baldassare Peruzzi’s full name was Baldassare ‘Thomasso di 
Giovanni di Salvestro di Salvadore Peruzzi, he was referred to and signed 
himself often, merely as ‘‘Baldassare da Siena,” Bal. Sen., or even B. B. 
according to one authority. “lhe name was also spelled Perucci, Perucio, 
Petrucci and in the Latin form Perugo, or Baldasse Perutio de Siena, as in 
a letter of his of 1528, or abbreviated, Putio. His contemporaries often 
alluded to him merely as “Baldassare.” 

His father was Giovanni di Salvestro di Salvadore Peruzzi, a weaver 
of Volterra. Vasari tells of a sister Virginia of nearly Baldassare’s age, but 
we know nothing more about her—and Milanesi records the birth of a sister 
Desiderio Maria in February 15, 1475, while a brother Pietro is mentioned — 
in a lease, of 1511, now in Rome and apparently not known to Milanesi. 

His father fled, Vasari states, from Volterra to Siena (in 1475 Milanesi 
believes), or perhaps only to just outside Siena, to Ancaiano—which in a 
way was territory of Volterra—in times of civil upheaval and possibly made 
acquaintances there. “Phis might naturally have led to the son going back 
in after years to Volterra proper, and decorating “in the Florentine style” 
a chapel, now destroyed, near the Florentine gate. Before he was twenty 


Peele SSA Re Si eR GZ Al 3 


he studied architecture there, Matas says, with Francesco di Giorgio. “The 
latter, a talented Sienese architect, wrote a treatise on architecture now pre- 
served in manuscript in the Siena Public Library which also treasures one of 
Peruzzi’s sketch books. ‘The doorway of Fontegiusta, Siena, is by Di 
Giorgio (Pl. 3). 

Peruzzi’s designs show details like Di Giorgio’s and he certainly made 
the acquaintance of Pietro di Andrea da Volterra, whom he accompanied to 
Rome in 1503, after showing his ability as a painter and being induced to go 
by the invitation of Agostino Chigi, the Sienese-Roman banker. 

The shepherd Giotto early saw greater beauty in nature than in beau- 
tiful Byzantine mosaics, rural Domremy nurtured and quickened Joan of 
Arc, yet more surprising is it that from an obscure Volterra-Siena family, 
whose history is now almost unknown, there came this weaver’s son whose 
capacity for hard, discouraging work and inherent sense of the values of 
line, mass, proportion, and color, placed him quickly among the great men 
at Rome. 

Mr. William J. Stillman, in an article in the Century on “The Coinage 
of the Greeks,” states his belief that the Tyrrhenian Pelasgi, coming anciently 
into Greece (Thucydides IV., 109) carried the arts thither and that “the 
true artistic nature, as opposed to imitation or monumental, was the original 
appanage of the Pelasgic race developed in the great italian empire built up 
by it.” He also says that to a survival in this Pelasgic stock was due the 
revival of art in Tuseany the ancient home of the lyrrhenian Pelasgi. 

That is logical, and it is quite possible that many ‘Tuscans, including 
Peruzzi, inherited their noted keen sense of beauty from Pelasgic ancestry. 
This would partly explain why he so pre-eminently appreciated and suggested 
in his designs a quality akin to the Greek. 

Renaissance restrospection and study included not alone classic but even 
earlier phases of art and therefore it is possible that in Peruzzi it revived the 
ancient sense of beauty. Mr. Stillman defines Pelasgic Greek art as sub- 
ordinating “‘all other elements to beauty, the expression of an ideal born of 
a distinct tho’ half blind spiritual aspiration; the fine union of the intellectual 
and moral yearnings which have always distinguished the Greek art and life 
from that of Eastern nations.” ‘This is a good definition of Peruzzi’s art 
as it is of Donatello’s, both peculiarly distinct masters. 

Whatever their source, Peruzzi possessed certain rare and individual 
powers of design, especially in architecture, that distinguish even his youthful 
works, and the characteristics of his riper productions are so entirely his own 
that it is dificult to compare him fairly with other architects of his day. 

All about Siena, there were in his boyhood, as now, within a radius of a 
few miles, interesting villages, and towns, superb fortresses, churches, bridges 
and villas. In the towns, and especially in Siena itself, inspiring works were 
then progressing and he was one inspired by them. 

The Gothic work in Siena was of a notable type and its cathedral, prac- 
tically finished in 1380, is one of the most original, instructive and beautiful 


4 LEE ON DIS HER Kas 


of the greater churches in Italy. Peruzzi’s first recorded architectural and 
fresco work was done in it, and at intervals during his life he was busy there, 
on various additions and alterations. 

Pini says that the first who influenced Peruzzi toward art was Ber- 
nardino Fungai (1460-1516) of the earlier Sienese school, and Berenson in 
“Central Italian Painters’? names Giacomo Pacchiarotto as his first master, 
seven years his senior and also a pupil of Fungai’s. 

There are no verified stories of any early privations, except that his 
father was poor, but, in connection with his family discouraging an over- 
powering tendency to draw and paint, there is a tale that until he was twenty 
he pursued by their wish a mechanical occupation, which was painful and 
distasteful. He seéms certainly to have possessed ability as a young man 
and became finally a decidedly good draughtsman as we know from his 
excellent drawings in the Uffizi at Florence, and in Siena, Rome, Milan, 
Turin, Berlin, Dresden, London, Paris, Vienna and New York. (Pl. 2 
ct al.) : 

These include all sorts of subjects from sea horses, cows, cherubs, saints, 
engineering projects, and architectural motives, churches, palaces, villas, etc., 
up to the beautiful anatomical studies, decorations, and the excellent drawings 
of his own head done with the firm sure line of a master who knew the 
proper use of cross-hatching. His handwriting is always so excellent that it 
forms almost perfect lettering on his plans, bringing to mind ancient manu- 
scripts, and shows that the writer had considerable instruction or schooling 
from some source. He wrote a clear and really beautiful hand, in fact far 
better than that of most of his contemporaries, or later artists, and that he 
possessed other schooling is shown by the fact that he felt able, according 
to Papillon, to begin a Commentary on Vitruvius, and a Treatise on Archi- 
tecture, and prepared drawings, and possibly manuscripts which his most 
famous pupil Serlio probably inherited, as we know he received part of the 
drawings and manuscripts. 

Vasari explains Peruzzi’s early proficiency by stating that he frequented 
the goldsmiths’ shops, especially delighting in their work and that of other 
designers, and gave all his attention to drawing so that at his father’s death 
he devoted himself to painting and made rapid progress, copying the best 
masters and yet (like Da Vinci) “giving his chief attention to nature and 
living objects’. From the latter practice it is logical to believe he derived 
much of his strength and versatility. 

At twenty he was a good painter, for in 1501 he designed the interior 
and painted, with Pintoricchio, the decorations of the chapel of San Giovanni 
in the Duomo, Malanesi tells us that the actual chapel was begun in 1482, 
Romagnoli says that the chapel was “built” (probably completed) in 1504 
from Peruzzi’s designs, and it is recorded that he was paid 42 lire for as 
many days painting in the chapel, “per altrettanti giorni”, August 15, 1501. 
This was a good beginning. Pintoricchio, one of the most fertile and splen- 
did mural decorators of any age, fully appreciated both Raphael and Peruzzi. 


PeLOASSARE PERUZZAI 5 


He was born in Perugia in 1454, became a pupil of Perugino, executed famous 
works in Rome and was called later by Cardinal Francesco Piccolomini, after- 
ward Pope Pius III., about 1500, to decorate the Sacristy Library of the 
Duomo at Siena and the chapel of San Giovanni also. Some of his decora- 
tion here and at Rome following ancient art is modelled in slight relief 
and he made considerable use of gold and ultramarine blue. His apprecia- 
tion of and his kindness to Raphael whom he brought with him from Perugia, 
have made certain writers attribute to Raphael most of the work in the 
Library, but it is fairly well established that Raphael’s work ended with the 
cartoons, if indeed he did all of these, inasmuch as he departed for Florence 
in 1503-4 before the work was finished. Crowe and Cavalcaselle say that 
none of the actual painting shows Raphael’s handiwork. 

We know that Pintoricchio, Bazzi (Sodoma) and Raphael were in Siena 
in 1500-1. ‘The latter only seventeen years old, not yet freed from his 
Perugino mannerisms, and illiterate, Lanzi judges from a letter written in 
1508, now in the Museo Borgia, Rome. ‘This was addressed to the Duke 
of Urbino, asking him to use his influence with the Gonfaloniere Soderini, 
the friend of Amerigo Vespucci, to give him a commission in the Palazzo 
Pubblico at Florence. 

On the Sacristy Library walls are scenes from the life of Pius II. and 
the entire decoration is even now one of the most important in Italy, high 
in key but very harmonious in color, composition and ornament, besides being 
historically quite valuable. ‘This work gives promise of what some of the 
artists were later to accomplish at Rome and elsewhere. It seems possible 
that Peruzzi also helped on the Library decoration, or at least was inspired 
thereby, especially since it is known that Pintoricchio did not finish the chapel 
of San Giovanni until 1503-4, or after the Library decorations, although the 
chapel, where we know Peruzzi worked, was begun in 1501. 

In any event, it is likely that Peruzzi first met Raphael in Siena, and 
that then began that friendship and intimacy which continued in Rome, as 
proved by an existing document mentioned later herein. By association and 
study with men of such calibre, the Sienese artist must have learned much 
of decorative art and draughtsmanship in general. 

Bazzi settled in Siena in 1501 after forming his style on that of Leonardo 
da Vinci. He was born in 1477 or 1479 at Vercelli, in the Piedmontese, 
and studied under Quercia, Giacomo della Fonte. His works in Siena are 
of wonderful beauty, especially the Scourging of Christ and the St. Catherine 
Swooning. Both Peruzzi and Beccafumi were influenced by him. Peruzzi 
said of the St. Catherine that he had “never seen a swoon so naturally repre- 
sented.” 

Could man choose, it would be difficult for an artist to select a more 
auspicious place and time for his birth than Italy in the latter half of the 
XVth and beginning of the XVIth century. Here the mingled blood of 
Umbrian, Etruscan, Greek, Latin and Teuton sought ever greater expres- 
sion in strenuous physical and mental activity. 


6 LIFE AND. WOR ES 20k 


Also in Europe generally, the energy of repressed thought was then 
manifesting itself; indeed, the claim is made that from Southern France 
came an early and notable manifestation of the Renaissance increased by the 
persecution and dispersion of the cultivated heretical sects. 

But however and wherever the Renaissance actually began it gained its 
chief force from the sacking of Constantinople in 1453 by the Turks under 
Mahomet II. and the scattering of its treasures of art and literature over 
Europe. A year later Gutenberg had successfully used movable type in print- 
ing and now before the century closed the Renaissance was well advanced 
toward its highest phase. 

For architects the most clearly marked beginnings had been Bru- 
nelleschi’s early initiation of Renaissance architecture at Florence in the 
Pazzi chapel, 1430; in San Lorenzo, 1431 and in the solving of his problem 
of the dome of the cathedral in 1420-36. Alberti, too in his church for 
Sigismondo Malatesta at Rimini, 1446-55; in Sant’ Andrea at Mantua and 
in the excellent Rucellai palace at Florence had proved himself one of the 
most gifted and original of the earlier architects. 

When Peruzzi was about three years old Sixtus IV. died and Innocent 
VIII. became Pope; in 1492, when he was eleven, the Spaniards took Granada 
from the Moors. Later the same year, Innocent VIII. died, Roderigo Borgia 
ascended the papal chair as Alexander VI., and Columbus landed on San 
Salvador. 

Into such a world came Peruzzi to feel even in his corner of it at 
Siena, the inspiration of the age. In architecture he probably recognized the 
great work of Brunelleschi and of Alberti in proving that the soul of classic 
art was capable of new life, by reviving from the remains of Rome the spirit 
of design, for, as Anderson truly says,2 “Brunelleschi’s designs were not 
mere copying of classic art but original, new forms based upon ancient 
example.” Certainly Alberti’s were also. In Peruzzi’s boyhood Bramante 
was measuring, drawing and studying Roman and other remains, as Peruzzi 
himself was later most enthusiastically and fruitfully to do. It is hardly 
possible yet to compare properly Bramante’s and Peruzzi’s work, but the 
great complete life of Bramante, interrupted by the war of 1914, will pos- 
sibly tell much about him that is now known to but few. 

Peruzzi’s works divide logically into three Periods or Styles, both in 
architecture and painting. ‘The First Period from 1500 (or earlier) to 
1508, is often marked by a certain Gothic reminiscence in detail even in 
mass, and shows the influence of Sienese designs and the instruction of Fran- 
cesco di Giorgio in architecture, while in painting, the lingering effect of 
earlier art and of Pintoricchio’s methods is quite clear. “The Second Period 
from 1508 to 1522 is marked by the great progress which he made under 
Bramante and from the study of Roman and classic architectural remains 
generally in Italy, while Sodoma’s and Raphael’s style is in painting gradually 


1A New Light on the Renaissance”, by pa Review London MCMIX. 
2“The Architecture of the Renaissance in Ita 


Deeley dike dete Ro ZZ] 7 


helping him to overcome certain mannerisms of Pintoricchio and the Sienese 
school. “The Third and last Period extends from 1522, the date of his trip 
to Bologna, up to his death in 1536. During this last phase his advance in 
originality is distinct. “The effect too of his previous experience is most em- 
phatic. 

In continuous succession we see in various cities his marvelous fortifica- 
tions, palaces and modest private dwellings; in Siena, palaces and villas 
rivalling the best work of the Renaissance, while in Rome he excels most 
men in versatility and beauty, eclipsing all designers of domestic achitecture 
in his superb conceptions. In painting he never excels his Ponzetti ‘Ma- 
donna” (of the Second Period) at Rome and the slight failing of his powers, 
altho’ not marked, shows in the ‘Sibyl’? (Third Period) in Fontegiusta, 
Siena. In all, a tremendous record of work is comprised in these years, espe- 
cially. when it is recalled that he was much of the time working with Bra- 
mante, and later for himself, on St. Peter’s, and elsewhere was busy on 
private commissions. 

Peruzzi’s “first architectural work’, according to Matas, was the church 
of San Sebastiano in the Via Vallepiatta, Siena (Pl. 6.). This, which 
Romagnoli also attributes to him, was begun in 1507 (Milanesi) and 
erected by the Weavers’ Guild of which the elder Peruzzi as a weaver may 
have been a member. A sketch plan by Peruzzi is now in the Ufhzi. 

Near Siena the villa Chigi-Mieli, or Le Volte (The Vaults) as men- 
tioned in letters of the day, is believed to be his work. (Pl. 7-8.) From the 
original owner, Sigismondo Chigi, it finally passed into the hands of Signor 
Mieli, who courteously allowed me to fully inspect it. A tablet on it bears 
the following inscription: 


Sigismun Chisius Hoc “Sigismondo Chigi 
Curarum Refugium built this refuge 
Extruxit from cares. 
AD: M.D. EYRE, 1505” 


After Agostino Chigi’s death in 1520, Sigismondo came to the Farnesina, 
Rome, and it was his wife ‘“‘Porzia’” who trusted Cellini on sight, gave him 
her diamonds to set when he was drawing from the Farnesina frescoes and 
generally flattered him, as he so naively sets forth in his autobiography. “The 
plan of the Farnesina seems like an adaptation of that of the Chigi-Mieli 
villa, and other details of the latter also are like Peruzzi’s later Roman 
work. | 
The Fonte Pescaia, Siena, is his, according to local tradition, but, if so, 
it belongs to this early period. Its brick details are most interesting. A fine 
house front on the Via del Corso, Siena, is also attributed to him, by Messrs. 
Grandjean and Famin.!_ A striking use of the round arch and a beautiful 
cornice appear in this building—altogether most attractive externally—but 
Professor Mariani, of Siena, thinks it may be earlier than Peruzzi’s time. 


1Jn “L’Architectura Toscana’’, Paris, 1806. 


8 LTE EAN De RR oie 


Peruzzi’s writing in his sketch-book, now in the Siena Library, states, 
“Tt belonged to me, baldasare perucio, and I gave it to Messer jacomo 
Melighino and to Messer pier antonio Salimbeni.” 

Professor Herman Egger! believes that many of the sketches in this 
book are copies of Peruzzi’s designs, possibly made by one of his pupils in 
1580, and that it is probable that the copies of designs for fifteen triumphal 
arches, are the ones of which the forms, immediately after Peruzzi’s death, 
were carried out by Antonio da San Gallo, The Younger, for the mag- 
nificent triumphal entry of Charles V. into Rome, April 5th, 1536. ‘There 
are similar sketches of Peruzzi’s in the Berlin Royal Gewerbemuseum. 

It is barely possible that this ‘‘pupil” who copied the designs was Antonio 
di Lari (“Il Tozzo”) whose work in Siena was closely modelled on his 
master’s, but they may have been done by a certain Francesco da Siena who, 
Vasari says, possessed some of Peruzzi’s drawings after his death. Perhaps 
it was Peruzzi’s own drawing of himself that Francesco traced from the ~ 
margin of this sketch-book and sent to Vasari for reproduction; it is not 
unlike the woodcut of the early editions of Vasari in some particulars, and 
this likeness Vasari states he received from Francesco, but the end of the 
nose and the cap in the woodcut are unlike the drawing. 

Before he left Siena, Peruzzi was a good-looking, even picturesque char- 
acter, full of enthusiasm, a maker of friends not only among his fellows, but 
including older and sedate men, such as Sigismondo Chigi and other Sienese 
who proved their friendship later. His was surely an inspiring, cultivated 
personality with something too of the spirit of the peasant who today sings 
at work in the field. No little of Italian kindness and courtesy show in 
his face. His dress at about this time, or soon after he got to Rome, indi- 
cates no disdain of bright colors or of style, but rather an appreciation of 
both within bounds, and a lightness of heart controlled by a certain serious 
determination evident in the strong mouth and nose. 

All in all here was a figure to take both the eye and the heart of the 
men he was to meet in the Eternal City, men of taste, such as the friends of 
Bramante and Raphael, quick to see the beautiful. With what joyful an- 
ticipation then must he have set forth with his brotherly chum Pietro, to 
try his fortune among them, to share their joys and woes and help kindle 
there the glow that was to illumine the Golden Age! His star surely was 
in the ascendant! In that important journey every slight incident must have 
seemed an adventure, every jest a roaring joke, each meal at inn or under 
hedge a banquet, the skies were never before so blue, the sun so bright, while 
the very birds sang especially to them from field and vineyard. Did they 
walk or ride on that trip over four hundred years ago? We shall never 
know, but it is not unlikely that Agostino and Sigismondo Chigi helped speed 
them on their way from glowing Siena, Siena to which Peruzzi especially 
was often to turn for honors and even for shelter, Siena which never once 
forgot or ill-treated him. 


1“Entwurfe Baldassare Peruzzi’’, Wien. 


RAED ASSARE PERUZZI 9 


GHAP TER Ti 
ROME—1I503-I5II 


At Rome in 1503, where his friend Pietro da Volterra had been em- 
ployed, painting in the Vatican by Pope Alexander VI., young Peruzzi was 
also engaged in the same work. After Alexander’s death, this same year, 
1503, Francesco Piccolomini of Siena became Pope Pius III, who also dying 
this year was succeeded by Giuliano della Rovere of Albissola, as Pope Julius 
II., a most fortunate accession for the fortunes of certain artists in Rome, for 
then began the “Golden Days” so well described by Lanciani. Pietro then, 
‘according to Vasari was no longer employed in the Vatican, and Peruzzi 
succeeded in entering the workshop of the father of the painter Maturino, 
later the partner of Polidoro da Caravaggio, where, altho’ Vasari’s story 
of Peruzzi’s first painting of the Madonna for his master is interesting, he 
could hardly have been inspired later by Maturino’s father, a busy but not 
famous craftsman. However, his acquaintance with Maturino and Cara- 
vaggio may have developed his later talent as a great designer in fresco and 
the decoration of facades in terretta. “he story goes that Peruzzi was given 
a prepared panel and asked to paint a Madonna, whereupon without having 
previously made a cartoon, he produced a picture which was much admired. 
In the Accademia delle Belle Arti at Siena, is a painting, representing the 
Madonna and Child, the latter holding a pomegranate, and little St. John 
looking on. ‘his has been recognized by Mr. Berenson as an early work 
of Peruzzi formerly attributed to Pintoricchio.! “Vhe background is covered 
with a decorative pattern in tooled gold leaf. If this is Peruzzi’s, which is 
not at all improbable, it shows him capable of good work even then, and gives 
an idea of the early style which, according to Vasari, so pleased his Roman 
friends. His Roman dwelling in these days was probably where most of 
his confreres lived in the Borgo Vecchio, a quarter convenient for workers 
at the Vatican, and later, in 1511, he perhaps lived elsewhere. 

When Peruzzi arrived there were a few painters of ability in Rome, 
and Mintz says that his presence stimulated the small colony to better work. 
Peruzzi, in spite of Pietro’s dismissal, must have worked at the Vatican, from 
his arrival, off and on, until 1507-8, when Raphael arrived and took general 
charge of the decorations by order of Pope Julius II. This work had already 
attracted Bazzi (Sodoma), Perugino, Pintoricchio, Signorelli and Lorenzo 
Lotto, Lo Spagna, Jan Ruysch the Fleming, Andrea Veneto, etc. Bazzi 
was decorating the Camera della Segnatura, the second room of the Stanza, 
in 1508, when on the 15th of October, he was discharged with a payment 
of 50 ducats, as also were Perugino and Signorelli, between 1508 and 1509. 
In spite of his orders to obliterate the work of his predecessors, Raphael re- 


1 Also so attributed by Ricci. 


10 Cdl Ered NDS te OR es 


tained the grotesques of Bazzi, some of Perugino’s work and of Peruzzi’s 
considerable of his ceiling in the Camera d’Eliodoro which Baldassare finished 
later, all except a small portion done by another assistant of Raphael. Copies 
of the work destroyed were made by Raphael, for what purpose it is hard 
to imagine, unless for comparison with his own designs, and these copies 
were afterward collected by P. Giovio in his Como museum. 

About 1503-9 or a little later, Peruzzi made the design for and built 
at least part of the church of San Rocco-a-Ripa, (Pl. 9) Rome, and deco- 
rated two of its chapels. A sketch of the plan and front is in the Uffizi. 
Crowe and Cavalcaselle date the decorating ‘shortly after 1517.’ At this 
period, to 1504-5, he went to Ostia, where for Cardinal Riario he decorated 
rooms in the fortress with the assistance of Cesare da Sesto of Milan. One 
of the subjects was the Three Graces of which Frizzoni says he saw a 
remnant in the Chigi palace in Rome, and it is now in that collection. He 
also did for Julius II., in the Vatican, in a new aviary near the roof, the 
decoration of a corridor, showing the months and seasons, introducing in- 
numerable edifices, theatres, amphitheatres, palaces, etc. ‘This is now 
destroyed, as is a casino in the Vatican, designed by him in 1512 for Pope 
Julius IT.? 

A most interesting document, proving the friendship of Raphael and 
Peruzzi at this period is mentioned by Marco Minghetti, in his life of 
“Raphael.” Of this document he was informed by N. Corvisieri, (Nuova 
Antologia, 2nd series No. 39, 1883-—Note to p. 613). Mlinghetti gives it 
as follows: (Translated) “In an ancient ledger of the chief fraternity of 
the Lombardi near the Church of 5. S. Ambrogio e Carlo in Via del Corso 
(Rome), there is the following record—‘Iwo houses left by the Cardinal 
Alessandrino in 1509, were leased by the Hospital until the second generation 
to the brothers (sic) Baldassare and Pietro Peruzzi, painters, Raphael Sanzio 
da Urbino going security for the repairs as shown by the lease dated Novem- 
ber 18, 1511, with the attestation of Andrea de’ Persis, notary.’ “The deed 
recorded in a vellum volume is still preserved in the archives of this chiet 
chapter of the fraternity. But being left several days under water with many 
other documents of this library in an inundation which occurred during the 
pontificate of Clement VIII., it is in great part illegible, but the account 
book memorandum, of which I have spoken above, testifies to its substance.’’* 

This as Minghetti says is a most important communication, not only on 
account of the revelation of the intimacy existing between Raphael and 
Peruzzi, but also for another fact, the value of which Minghetti apparently 
does not realize, i.e. because it alludes to Peruzzi having a brother Pietro, 
whom even Milanesi does not mention in his chart of the Peruzzi family. 
It would seem from this that possibly Peruzzi’s brother was also a painter 
and worked with him in Rome in 1511, unless it was indeed Pietro da 
Volterra who took Peruzzi’s name. It also is interesting, although not 


1 \Vasari, 


2 Matas. 
3 Raffaello’. M. Minghetti (note on p. 111) N. Zanichelli, Bologna, 1885. 


Berto aos Sadie he PoE RUE LZ I 11 


proving any relationship, that Raphael’s great grandfather who fled from 
the sack of Colbordolo by Sigismondo Malatesta, was named Peruzzolo 
Santi, but undoubtedly Raphael’s friendship for Peruzzi grew wholly from 
his appreciation of the latter’s character and ability as an artist, for Raphzel’s 
ability to recognize and appreciate the great gifts of other men is notable. 

Of Peruzzi’s exact personal appearance at about this period it is for- 
tunately easy to form an idea by the discovery of his oil portrait of him- 
self. (Frontispiece.) From this it is clear that he was rather thin than 
stout, his face serious almost to severity, complexion clear and light, eyes 
dark and piercing, hair, beard and moustache brown. He wore his hair 
long, falling to the shoulders and it was very slightly wavy, parting in the 
middle over his forehead. “The dress and especially the black velvet cap 
recall Raphael. ‘The vest is greenish blue, one of Peruzzi’s favorite colors, 
set off by a border of orange color and tied up the front with three knots 
of dark ribbon. “The mantle is dark and the shirt edged with lace reaches 
to the top of the shoulders. Altogether the face is that of an artist of 
unusual refinement, beauty and strength of character. It is the only oil 
portrait of him known, and was found in northern Italy. 

‘The semi-domed apse of the church of San Onofrio al Gianicolo con- 
tains Peruzzi’s first decoration in Rome outside the Vatican. ‘This commis- 
sion was said to have been secured for him early by his Roman friends and 
admirers. It is pronounced by Frizzoni,! to be entirely Peruzzi’s work. 
Pintoricchio and Sodoma then influenced him in painting, as did Alberti 
and Bramante in architecture, yet his style in a building or a picture, is always 
distinctly his own, altho’ showing traces of his study of others’ work. He 
never merely imitated, and this is proved by the fact that the characteristic 
faults of others are seldom to be found in his designs. Nowhere, for instance, 
do we notice in his paintings any of the exaggeration of size, form, or muscle 
that critics remark in Michel Angelo’s work as marking the beginning of 
the decadence, and yet he also must have admired Buonarroti’s figures greatly 
and felt their influence. His architectural designs too show ever increasing 
knowledge and power up to the very end of his life. 

With Pintoricchio he painted in San Pietro in Montorio, a fresco. ‘The 
Four Virtues, a Coronation and David & Solomon the latter very deco- 
rative and full of dignity. 

In these early Roman days, Vasari says, he painted several apartments 
in the palace of San Giorgio, for the Cardinal Raffaello Riario, Bishop of 
Ostia, in company with other painters, and various paintings on a front 
opposite the palace of Messer Ulisse da Fano and on the front of the latter 
palace “stories from the life of Ulysses’. All these have vanished, but in 
the Uffizi there is a design, Milanesi says, touched up in white, for the front 
of a palace; also he did a front, now destroyed, in ferretta with views in 
perspective, situated between the Campo di Fiore and the Piazza Giudea. 


1“T) Buonarroti”, March 1871 (art journal), under the title “Di Alcune Opere di Disegno 
du Rivendicare al Lora Autore, l’Artista Sanese, Baldassare Peruzzi’. 


2 LYRE AN DOE Raise 


In 1503-13, according to Frizzoni, he designed the present excellent 
mosaics in the crypt of Santa Croce in Gerusalemme, Rome, which have been 
much praised. (Pl. 10.) Albertini,! however, writes of them in 1500, so 
either they, or earlier counterparts, must have been there then. ‘The sacristan 
tells visitors that these mosaics are earlier work and were restored, but gives 
no authority, and authorities state definitely that they were Peruzzi’s. “They 
are very poorly lighted. The background is gold mosaic, in the centre is 
Our Saviour, the Four Evangelists in four ovals at the sides, and above are 
the Making of the Cross, four Saints and the kneeling figure of the donor, 
Cardinal Carvajal. 

In architecture, Bramante, whom he probably met through Raphael. 
soon after he reached Rome, must have seemed to him the great architectural 
scholar and savant, as well as the inspired architect whose work revealed very 
clearly the value and the necessity of a schooling from the antique, but altho’ 
Bramante’s influence is evident, Peruzzi is always himself. He worked for 
and with Bramante before 1506, collaborating on all the designs for St. 
Peter’s before construction began, Von Geymiller says. ‘Together, too, 
according to tradition, they designed the “Ospedale degli Eretici Convertiti”, 
“the degli Eretici Ravveduti” near the Piazza of St. Peter’s and the Vidoni 
or Giustiniani-Bandini palace (Pl. 11). ‘Taking all this association with 
Bramante into consideration it is remarkable that Peruzzi was never afraid 
to depart from the classic, when necessary, but in so doing he was never lost, 
remaining always the great master of line, proportion, ornament and con- 
struction. His knowledge of classic art and story, his innate sense of pro- 
portion and scale, his noted mastery of perspective wherein he excelled, 
constantly produced the most inspiring works even when in designing the 
exterior of a building he wholly abandoned the orders, as he often did. So_ 
carefully did he keep proportions in mind that even his solid plain walls, as 
at Siena, never lacked classic feeling and striking virility. 

Although we can imagine from Piranesi’s grand series of etchings made 
between 1741 and 1778, and from other works, how even more interesting 
than those prints were the remains of Rome when Peruzzi first saw them 
in a better state of preservation, still it is difficult now to fully appreciate 
the enthuiasm that these ruins awoke in the artists of his time. Peruzzi, 
like all most thorough and serious students, measured and studied everywhere 
such monuments as he could, and even, as already stated, began a treatise 
thereon and made drawings for it. It is evident that wherever he could 
find an early building or ruin, he made a graphic note of it, often with 
careful measurements and always in-an interestingly appreciative way. He 
evidently traveled considerably and his sketches still extant show that he 
made drawings in and near numerous cities of Italy. Undoubtedly too time 
has destroyed many others of his sketches. He was enabled to afford this 
study partly in the usual course of his work and partly through the help 
given him by Agostino Chigi, also of Sienese origin, whose friendship for 


1In “De Mirabilibus Novae et Veteris Urbis Romae’’. 


pee Sw A KE PERU A ZL 13 


Peruzzi was marked by many other evidences of appreciation of his fellow- 
townsman’s genius. 

-On April 18th, 1506, the corner stone of St. Peter’s was laid and the 
huge construction was begun from Bramante’s gigantic plan. ‘This design 
showed the influence of his friend Leonardo da Vinci’s studies for domed 
churches and finally proved too much for even the great resources of the 
Church to finish. The troubles attending the reconstruction of its founda- 
tions later consumed months of Peruzzi’s time which otherwise employed, 
had a better plan been chosen, would have yielded him greater architectural 
fame. 

About 1508-9 Agostino Chigi commissioned him after his return from 
Ostia to design the splendid villa or palace and accessory buildings in ‘Tras- 
tevere, Rome, known formerly as the Chigi, or Lungera, and now called the 
Farnesina (Pl. 12) which Chigi built for his “beloved Imperia’”’. Peruzzi 
began this in 1509, probably finishing the architectural part in 1511, although 
Cugnoni says 1510. No student of architecture and painting in Rome who 
appreciates Peruzzi, Raphael, Sebastiano del Piombo and Sodoma misses 
seeing it, for these and other great artists were employed in its completion. 
It is E shaped in plan, “an elegant crypto-portico beloved of the ancients’’. 
A rough sketch plan of the large portico or hall opening on the garden and 
a rough general exterior perspective and details, are now in the Uffizi, but 
all the formerly open porticos now have windows in the arches. 

The materials of the building are brick and peperino, a stone formed 
of volcanic ashes, and the exact tones are so obliterated by weathering and 
ruin that it is impossible to imagine the original color effect, for stucco ap- 
parently covered all the brickwork. ‘The external terretta decoration which 
Peruzzi here and elsewhere used and carried almost to perfection, is executed 
by incising the design upon a coat of fresh plaster and filling in the sunken 
lines with black or white made of argillaceous earth (whence terretta) 
found in Rome and near Florence, and with charcoal and powdered traver- 
tine. Lights and shadows are obtained by judicious use of the filling. There 
is also a similar process called sgrafito, done by putting a thin light colored 
coat over a dark background and scratching the design upon this through 
to the dark ground. It has already been hinted that his great ability in 
this method was probably helped by his association with the masters Maturino 
and Polidoro Caldara da Caravaggio who did not surpass him, altho’ Cara- 
vaggio was later very famous. 

The beautiful and originally treated exterior frieze (Pl. 13) of the 
Farnesina was copied with variations thirty years later by Sansovino on his 
library of St. Mark, Venice, as well as used by others. ‘The introduction 
of windows between the ornament of the frieze was an original idea of 
Peruzzi’s, as far as critics can discover, but the children with garlands of 
fruit form a classic motive often used, altho’ it may have been directly sug- 
gested to him at this time by the base of the tomb of [aria del Caretto in 
the Duomo at Lucca. This was by Della Quercia (1374-1478), of Siena, 


a LE I SAN De HeOLR KK areilc 


whose work was highly appreciated there. There is moreover, a noticeable 
likeness between the profile of Ilaria and that of the Sibyl in Peruzzi’s 
fresco at Fontegiusta Church at Siena, which gives color to the above supposi- 
tion. Peruzzi himself often repeated the motive of his Farnesina frieze, 
sometimes inserting the windows without ornament. 

Baron Von Geymiiller in “Raffaello Studiato Come Architetto”’, dis- 
putes Peruzzi’s authorship of the Farnesina design and ascribes it to Raphael, 
but Vasari says that Peruzzi “prepared the model which he executed in the 
graceful manner we now see’’, and other writers, as well as tradition, have 
pronounced it to be Peruzzi’s. — 

Fabio Chigi, confirms Vasari and says also that not only the Farnesina, 
but its stables were designed by Peruzzi, and adds, “he (Agostino Chigi) 
gave Baldassare Peruzzi a coadjutor in the person of Raphael and consulted 
others to control them.”! This appears true on the face of it because it 
distinctly reveals the keen business methods of this shrewd Italian banker. 

It is probably due to the intimacy and association of Peruzzi and 
Raphael on certain works that it has been, and is, difficult to give each his 
due credit. “This is especially true as to the church of Sant’ Eligio, and 
the Chigi Chapel. Peruzzi’s style, however, is clearly evident in the archi- 
tecture of the Farnesina, while a large part of the decoration inside and 
out was also his work. Indeed, Raphael was quite busy and engrossed in 
other labors for Pope Julius II. most of the time during the building of — 
the Farnesina. 

In a discussion following the reading of Mr. Bedford’s paper on Peruzzi 
before the Royal Institute of British Architects,? it was stated that Gey- 
miller does not prove his case and that Dean Aldrich of Christ Church, 
Oxford, in the last century and a great authority and logician, unhesitatingly 
attributed the Farnesina to Peruzzi. In London, the design of Dorchester 
House, Park Lane, is based on’ the Farnesina. 

Mr. J. Hubert Worthington states in a scholarly essay on Peruzzi in 
the R. I. B. A. journal of October, 1913, that the porch of Santa Maria 
in Domnica (Pl. 14), (Navicella), Rome, of 1513-14 which is proved con- 
clusively by his Uffizi sketches to be Peruzzi’s, shows a spacing of the pilasters 
corresponding with those of the Farnesina and their mouldings are alike; 
also in the Palazzo Ossoli by Peruzzi, the two upper stories correspond with 
the Farnesina in general proportions and treatment, especially in spacing 
of pilasters, and in profiles of mouldings on the capitals in the court. Build- 
ings at Siena show that Peruzzi often repeated his details. 

Over the entrance to the Farnesina is an antique piece of ancient Roman 
ornament of Greek character, peculiarly an indication of Peruzzi’s work, as 
is seen over the door of his Ossoli palace (Pl. 15-16) over the door in the 
loggia of his palace in Via Giulia (Pl. 14); over the door in his Pietro 
Massimo court and elsewhere. No writer has drawn attention to this use 


= Memoic of Agostino hig. 
tee Gil nulveris wel: Aw November 1901 and October 1902, pp. 165-182. 


Peele A Oi SRA thls | PeeRAS ZZ 1 15 


before, as being a mark of Peruzzi’s authorship, but it occurs in so many of 
his works as to be almost a sign manual. 

Besides these similarities there is the above mentioned villa Chigi, now 
Mieli (Le Volte) (PI. 8) near Siena, credited to Peruzzi, which in gen- 
eral outline of plan is E shaped and otherwise suggests the Farnesina. 

Moreover, the Chigi family were especially friendly to Peruzzi, indeed 
it would seem much attached to him by his undoubted genius and what they 
knew of his origin. The Villa Vicobello too (Pl. 17) for the Chigi family, 
near Siena, was designed by him and the aforesaid remnant of his fresco at 
Ostia of the Three Graces, inspired by the marble group in the Piccolomimi 
Library, Siena, was brought to Rome by one of the Chigi family to be 
preserved in the Chigi palace; also Agostino Chigi helped Peruzzi in pur- 
suing his studies at Rome, Vasari states, “but more particularly relating to 
architecture’. It is in this connection quite significant that Chigi must 
have fully appreciated his architectural ability as he helped him to study 
architecture, not decorative painting nor astrology, nor engineering, in all 
of which Peruzzi was also skilled and greatly interested. In the “Lettere 
Senese”’ by G. Della Valle, Rome, 1786, a rare book which possibly Gey- 
muller never knew, there is printed a letter by D. Sigismondo Chigi, en- 
titled ‘Notizie di Baldassare Peruzzi’, showing again the constantly recur- 
ring interest of the Chigi family in Peruzzi’s career. It was too for Chigi’s 
town of Port’ Ercole that in 1531 Peruzzi designed casemates. “Thus all 
along we see his constant association with the Chigi family. 

Geymiller gives in “Raffaello Studiato etc.” the design of the stables 
for which, he claims, Raphael gave the architectural order (according to 
Vasari’s ‘“Raphael’”’) but Vasari and Geymiuller omit entirely the clear state- 
ment of Fabio Chigi mentioned above. ‘The lodge design on the TViber’s bank 
is also restored by Geymiller, but he fails to note how much the arches, 
alternating with pilasters, on this and on the open porticos of the villa, sug- 
gest Peruzzi’s “L’Apparita’ or farmhouse near Siena, and his little chapel 
outside the Porta Camollia, and the Porta itself. 

Finally, Milanesi made exceedingly careful researches and attributed the 
design of the Farnesina to Peruzzi. In fact the evidence, both architectural 
and literary makes the palace, stables and lodge his creations. 

Hung with tapestries, the fine stables were later used as a banquet 
hall and in 1518 were practically demolished, which was also the fate of 
the lodge at an unknown date. 

On the second floor (piano nobile) of the Farnesina, Peruzzi decorated, 
possibly in 1511-12, the first room, No. 1 (Baedeker), with the famous 
architectural views of the Borgo, the Janiculum and Rome, seen apparently 
between dark, marble columns. ‘These views are fine examples of illusive 
painting. The mythological frieze of this room, containing the Triumph 
of Venus, Apollo driving the Chariot of the Sun, etc., is his also, for as a 
classical scholar fond of work of this sort he was one of its chief illustrators. 
Pietro Aretino praised these decorations, saying, ““[he Palace contained no 


16 ED EE AN DEO Tet a ae 


more perfect picture of its kind’. Bazzi of Siena, in 1511-12, also painted 
in room No. 11, adjoining, a masterpiece, the Marriage of Alexander and 
Roxana, even now very fine in color. Of the Palace and its decorations 
Crowe and Cavalcaselle say that Peruzzi “had already realized what Raphael 
in later years was but hoping to attain—the “fine form of the edifices of 
antiquity’, and that Guido’s Aurora in the Rospigliosi palace is not so 
classically pure as Peruzzi’s Apollo driving the Chariot of the Sun. Vasari, 
one of its earliest admirers, said of the villa “it was not built but born’. 

Peruzzi later painted, and completed in 1518, the ceiling of the first 
story room or portico next the Tiber. ‘This represents the Nymph Callisto 
as the charioteer in the constellation of Perseus; in fourteen pointed arches 
of the vaulting are other constellations; in ten hexagonal spaces the signs of 
the Zodiac and the Gods of the Seven Planets mostly in groups. ‘The lunettes 
are by Sebastiano del Piombo, representing Ovid’s Metamorphoses, but ac- 
cording to Frizzoni, one lunette also that differs from the others, a large 
head in dark crayon, was by Peruzzi (some say by Piombo) and not by 
Michel Angelo. The other tale, which seems improbable, was that Michel 
Angelo visiting the Farnesina to see how Raphael was progressing, sketched 
this grand head to indicate how he thought Raphael should work as to scale. 
‘This would have been rather an uncalled-for act on Michel Angelo’s part, 
besides, the head is not in the room that Raphael decorated. Bracciolini in 
his poem written about the Farnesina in 1627 does not connect Michel 
Angelo with this design but says “Grand thing is art! And those know who. 
have seen the head drawn in charcoal in the loggia of the -Chisi, to which even 
the brush of Raphael is inferior’.t Bazzi and other Sienese painters did 
the pilaster arabesques, and according to Griiner, Gaspard Poussin later did 
the landscape work above the doors and windows, but this has been disputed. 
Maratta retouched unsuccessfully the decorations of this room. 

Vasari relates that Titian and he visited this portico room in the Farne- 
sina and admired Peruzzi’s perspective painting of ornament on the ceiling 
and ‘Titian could hardly be persuaded that it was not in actual relief, and was 
only undeceived by changing his point of view. ‘The effect even today makes 
this story credible. 

Raphael in 1514 also personally painted here the decoration of Galatea 
borne over the sea in a shell with attendant tritons, nymphs and cupids, and 
Sebastiano del Piombo on the left of it painted Polyphemus singing to 
Galatea. In the eighteenth century the latter work was ruined by attempted 
restoration. “The paintings of this room form one of the most successful 
examples of mural decoration, wonderfully harmonious in color and, as a 
whole, better in tone than Raphael’s famous decorative (but restored) story 
of Cupid and Psyche painted later than his Galatea, in the adjoining hall 
or portico, which has for many years been the noted room of the palace, 
some visitors not even knowing of Peruzzi’s work in the next room toward 


1“The Farnesina”’, A. Venturi. 


Bae Jah os Oe de ERAS ZT 17 


the Tiber, or in the other room toward the Corsini palace, and in room 
No. 1 on the second story, the latter being for years attributed to others. 

In the room on the first floor toward the Corsini palace he painted a 
frieze of gods and goddesses, fables of mythology, children, tritons and river- 
gods. Crowe and Cavalcaselle say, ‘“‘Nothing can be more fancifully or 
more powerfully handled than this graceful and well arranged series, nothing 
more like Peruzzi than the plastic nature and action of the figures. It is 
the work of a man who has studied Michel Angelo and Raphael without 
abandoning his own originality, who has become chastened by contact with 
great contemporaries’. But better than this, it is the work of a man who 
had gone to the same classical sources as they and interpreted and grasped 
the principles for himself. All his work at the Farnesina justifies the praise 
of Eugene Mintz, who wrote, that, “of the architects who sought fortune 
at Rome he was the most elegant, the most refined, the most independent”’. 

Little if any comment has ever been made on Baldassare’s keen judg- 
ment of men, his quiet but strong resentment of ill-treatment and his evident 
sense of humor which were probably developed considerably by his experi- 
ence during the building of the Farnesina. It was impossible that a man 
of such natural powers of observation could meet associates and clients such 
as his, and not become discerning and appreciative as well as fond of a 
joke. ‘That he was all these is proved by one of his drawings, discussed as 
follows: The Catalogue of the Louvre, 1841, says that Mariette and the 
prelate Bottari go further than Vasari in the interpretation of a certain 
design by Peruzzi of an Allegory of Mercury, formerly in Mariette’s collec- 
tion but now in the Louvre, and mentioned by Vasari at the end of his 
“Life of Peruzzi’. Mariette and Bottari “think that Peruzzi in a fit of 
ill humor against misfortune and the injustice of his time made therein a 
satire of artists more occupied in amassing wealth than in studying the secrets 
of art; he, at the same time, rendered justice to several celebrated virtuosi 
(who are) solely occupied with the means of instructing themselves and 
becoming distinguished by their works. In the group at the left of the 
spectator they recognize by his decorous bearing, by the beauty of his features 
and his youth, Raphael talking with a man of letters; his page, plagueing 
a little dog with a bellows of which the master has scorned to avail him- 
self, appears to have been put into the scene only to show the stately life of 
this master (i.e. in having a page). Michel Angelo is in front of him and 
is talking with Fra Bastiano del Piombo who is clad in a long robe in his 
character of Keeper of the Seals of the Papal Chancery. ‘This painter turns 
his head toward Michel Angelo and seems to hesitate to advance toward the 
statue (of Mercury). Giovanni da Udine equally beloved by Michel Angelo 
and Raphael appears to them to be he who carries his hand familiarly on 
the shoulder of the first. At a place more distant at the right of the spec- 
tator Peruzzi is talking with a friend. His head although of a small size 
does not in the least resemble the portrait placed at the beginning of his 


Bier, 


18 DIE E @aN DROW O Rik, (Or 


‘Mariette and Bottari believed that they recognized in the doctor who 
holds an alembic, carries glasses on his nose and a hood on his head, the 
caricature of A. San Gallo, The Younger, an architect very persistent in 
claiming for himself all undertakings to acquire wealth and honors. Finally 
the stout, bald man armed with the long pincers seems to them to resemble 
Bramante whose great avidity equalled his talents. ‘The prelate Bottari 
does not think he has exhausted all the discoveries which this composition 
offered him. He is satisfied to put people upon the track who would try 
to make new ones’. 

Inasmuch as Peruzzi would hardly have caricatured Bramante after 
his death, which took place in 1514, it 1s almost certain that this drawing 
was made before that date and probably after he had finished the actual 
construction work of the Farnesina and learned the characteristics of Piombo 


and San Gallo. 


Pee Soa RE PRR OU ZZ I 19 


CHAPTER III 
ROME—I5I11I-1514 


‘The decorations of the Farnesina must have been well along by 1510 
for they were first described in 1511 by Gallus Egidius,! and later by Biagio 
Palladio in “Suburbanum Augustinii Ghisii”. The latter praises not 
Raphael’s Galatea (1513-14) but Peruzzi’s Venus (1511-12). In 1693 
N. Dorigny made the best set of prints of the decorations ever published, 
now very rare. 

In 1519, some years after the Farnesina was finished, Siena then becom- 
ing famous for its players, Agostino Chigi and his wife Francesca, engaged 
a Sienese company of actors to play in Rome and probably at this Trastevere 
villa. 

‘The Farnesina holds its present name from its purchase by the Farnese 
family in the middle of the sixteenth century. ‘They sold it in 1731 to 
Don Carlos, King of the Two Sicilies, and in 1860 it was leased for ninety- 
nine years by Francesco II to Bermudez de Castro, Duke of Ripalda, who 
died in 1883. He is mentioned in “The Courts of Memory” by Madame 
de Hegermann-Lindencrone (nee Lillie Greenough) who with friends took 
tea in the Farnesina gardens. 

In the Chigian library at Rome is a medal of Agostino Chigi, of which 
Venturi gives a print in his book on the Farnesina. Lanciani? mentions 
another excellent likeness in Pier Leoni Ghezzi’s volume of original drawings 
in the office of the Curator of Antiques, British Museum. ‘The life of this 
famous financier reads like a romance, and is of special interest in connec- 
tion with his friendship for Peruzzi. 

Born about 1465 at Siena, he was the founder of the Roman branch 
of the family of Chigi, the son of a prosperous tradesman, and coming young 
to Rome was well established at twenty years of age. 

Beginning as an art lover he gradually became a great collector and 
hundreds were helped by his generosity. Great wealth came through his 
ability as a corn merchant, banker and owner of alum mines at Agnano and 
Ischia and of others discovered in 1462 at Monte Volfa, near Civita Vecchia, 
where he built a church; also through working the Papal and Neapolitan 
salt mines. “The alum mine privileges he took away from Lorenzo de 
Medici by wheedling Pope Leo X., and nevertheless retained the friendship 
of the Medici family. As one of the most notable men of Italy, both finan- 
cially and socially, he was given charge of the Papal finances by Pope 
Julius II., until the Sultan called him “the great merchant of all Chris- 
tianity”. An apostolic notary and epitomist, he also conferred diplomas, 


1Jn “De viridario Augustini Chigi patritii Senensii, libellus Galli Egidii Romani poe. laur.”’ 
7) 


2In “Golden Days of the Renaissance in Rome”’. 


20 ETF EB AN Dia ORGS 20 


mitres and cardinals’ hats. Judging by contemporary accounts, he was a 
man of good taste and broad sympathies, extremely shrewd, diplomatic and 
interested in the men and the events of his day; a royal money maker and 
an equally royal spender and host. His power was incredible, for he backed 
Caesar Borgia with his financial aid in that leader’s war against Urbino, 
and loaned the Venetian republic the value of 125,000 scudi; secured the 
privilege of admission to the “Serenissima” and was allowed to sit beside 
the Doge in the Senate, so that even at Julius’ request the Republic would 
not free two of Chigi’s debtors, and when one escaped to Turkey, the Sultan 
as a favor sent him back a prisoner to Rome. With his own ships sailing 
many seas under his personal flag; owning many villas on the Campagna, 
the Serpentaria outside the Porta Salaria, Castel Giuliano bought of the 
Corsini, and Sirano, Fiorano, Scorrano, Leprignano, San Pancrazio, and 
Pontemolle, he established his central banking house at Rome to direct 
eventually a hundred branches through Italy, besides others at Constantinople, 
Alexandria, Cairo, Lyons and London, etc. and his affairs kept about 
twenty thousand people at work. He also ruled like a king at Castel Vacone, 
Atessa and Port’ Ercole and owned the fishing of the lake Fucino and of 
Fogliano. 

Julius II. was like a brother to him, for in addition to entrusting him 
with the Papal finances, he gave him the privilege of adding to his coat 
of arms the Della Rovere “Oak” with golden acorns, as if Chigi was one 
of his own family and borrowed 400,000 scudi from him on the richly 
jewelled Papal mitre “il Regno” as collateral. When Alfonso I. of Este 
interferred with Chigi’s interests, Julius made war upon Alfonso. 

Leo X. was present at Chigi’s marriage and later baptized his son. 
It was Chigi who, in 1507, had Bramante design for him a triumphal arch 
to Julius II., on his return from war, and who later composed the lines 
on another arch erected after the election of Leo X. i.e. “Formerly Venus 
ruled, then Mars, now Pallas holds her sway!” referring successively to 
Alexander VI., Julius II., and Leo X. Living figures representing Olympic 
deities stood in the niches, and a nymph recited verses to the passing Pope. 

With an income estimated at $700,000 a year (70,000. gold ducats) 
Chigi’s entire life in Rome was on such a scale as to attach to him the title 
which Cugnoni repeats in an interesting work, ‘Agostino Chigi, Il Magnifico” 
(Rome 1881-83).1 It was Chigi’s encouragement which caused the printing, 
by Cornelio Benigno of Viterbo, of the works of Pindar,? the first Greek 
book printed in Rome. Chigi died in Rome in 1520. A descendant, Fabio 
Chigi, the writer of the “Memoir of Agostino Chigi”, became Pope Alexander 
VII. in 1665 and Don Mario Chigi, a marshal of the Roman Church became 
later the head of the family in Rome. 

The Chigi chapel (Pl. 19), in Santa Maria del Popolo, Rome, contains 
the tomb of Agostino. Vasari says that Chigi ordered it built “under the 


' Also see Gregorovius “‘Geschicte der Stadt Rom.” (English translation, London 1894-1900.) 
2 See Cugnoni, and Venturi also. 


Mesroa aah PERU ZZ I 21 


direction of Raphael”, but Chigi and Raphael both dying, the entire project 
fell to Sebastian del Piombo and was neglected. As he was not primarily 
an architect he possibly turned for assistance to his friend Peruzzi whom he 
especially liked and trusted. Raphael also may have had earlier the assistance 
of Peruzzi. Geymiiller published a plan of the chapel which he claims is 
by Raphael, but Peruzzi’s detail also is evident in the chapel and_ its 
Corinthian order is remarkably like that of Peruzzi’s which Serlio published. 
Lalande and Letarouilly believed that Peruzzi was the architect. Under the 
marble head of Chigi in profile is the following inscription: 


AGOSTINO CHISIO 
SENENSI 
VIRO ILLUSTRI 
ATQUE MAGNIFICO 
SACELLI HUJUS FUNDATORI 
QUI OBITT AN DOM MDXx 


Another sketch of Peruzzi’s in the Uffizi, is for a chapel in this same 
eaurer ?t. 20). Chigi built another chapel in 5. M. della Pace. 

It is easy to believe that with such a Macaenas Peruzzi must have 
entered enthusiastically upon his architectural life at Rome. 

Undoubtedly much of Peruzzi’s Roman work was done before 1522 
when he went to Bologna and other cities, and the church of Sant’ Eligio 
or 5. Alo degli Orefici (Goldsmiths) (Pl. 21) near the Tiber, a Greek 
cross in plan, was built about 1509, though some think later, probably by 
Raphael and Peruzzi, and perhaps principally by Peruzzi. It was rebuilt 
or much restored in 1601. Peruzzi had left the Vatican in 1509 to begin 
the Farnesina, and Raphael and he might naturally have associated on this 
church. Bramante also has been named as its architect. Mr. Worthington 
praises the interior, which is excellent in proportion, the arms having only 
a slight projection in plan and the height being two and one half times the 
diameter of the dome. ‘The latter is carried on a drum set on pendentives. 

Aristotile Sangallo made a drawing of the cupola and wrote on it 
“Di Mo. Baldassare da Siena, Chiesa delj (1) Orifice in Rome de pezxi lavatori 
di pietra piana’, (literal). Von Geymiller gives a reproduction of a draw- 
ing which he attributes to Peruzzi’s son Sallustio, on which is written “S. 4/o 
degli Orefici in Strada Giulia. Inverso in fiume opera di Raff, di Urbino”. 
The cupola is somewhat like Peruzzi’s design for that of San Petronio, 
Bologna. 

Rome is often said by hurried travelers to possess few interesting palaces, 
but the contrary is true. In the older quarters of the city there are many 
which are peculiarly interesting, many by Peruzzi alone and some designed 
with an associate. “They are full of instructive details and remarkable in 
the finished quality of plan and elevation. Of the numerous smaller palaces 
and houses designed by Peruzzi for well-to-do Romans, who recognized his 


22 LL E* aN DUWAGRIE SOE 


ereat talent and were glad to avail themselves of it (probably knowing that 
he was an easier man to manage than Bramante or San Gallo), there are 
many still left, although others have probably disappeared in the changes 
of four hundred years. It is impossible to give the exact dates of all of 
these, but they may be roughly classified by the character of the respective 
designs, indicating his earlier and later styles. ‘Treating of these dwell- 
ings, M. Leon Palustre in “L’ Architecture de la Renaissance’ has made the 
following observations ;— | 

“The palaces (in Italy) are not the only buildings worthy of study. 
There are in most cities of some importance, dwellings of the second rank 
whereon much talent has been spent. ‘This is not astonishing when one 
reflects that at Rome, for example, people of the middle class, knowing the 
good nature and unselfishness of Peruzzi, preferred to engage the services 
of the celebrated architect. 

‘“Quatremére de Quincy who has made a special study of these facades, 
some with a shop on the ground floor, built in the different quarters of the 
citv, expresses himself thus about them ;—‘These elegant designs, true models 
ot a kind suited to a majority of owners, will always be the object of study 
by whomsoever shall wish to put the satisfaction of good architecture within 
the reach of the less wealthy. ‘These are of the kind of buildings of which 
Poussin seems to have made a mental collection to adorn the backgrounds 
of his paintings and to compose those beautiful perspectives of ancient cities, 
which in more than one of his works, share with the figures the admiration 
of beholders.’ And so on, in praise of the excellence of Peruzzi’s work. 
He then adds, ‘Works of this kind could never be too much studied by young 
architects, who, struck with the grandeur of ancient Rome, too often forget 
that cities are composed of dwellings and that their beauty depends more 
on good taste diffused by art in the simple arrangements of particular habita- 
tions, than in the erection of great monuments, of which many centuries 
will scarcely suffice to see the completion.’ ” 

In the same vein Quatremére de Quincy further remarks: ‘“The true 
connoisseur will pass without receiving any impression, before certain of these 
great palaces (referring to others than Peruzzi’s) but he will feel himself 
involuntarily stopped by the appearance of the charming facades with which 
Baldassare Peruzzi has ornamented different dwellings of the more modest 
kind. “The best constructions of Peruzzi, as of Palladio, are a sort of 
practical school of architecture which meets the necessities of even com- 
mercial cities’. 

In the Via Giulia, where hot-tempered Cellini so often walked and once 
outwitted a waiting assassin,. near the church of S. Giovanni Fiorentini 
and next the former Collegio Bandinelli, is the palace by Peruzzi (Pl. 22) 
which Letarouilly so beautifully illustrates. It bears the inscription on 
a tablet over the central door inside, “COSMO - MEDICI - DUCI 
FIOREN - II - PACIS ATQUE JUSTICIAE CULTORI’ -> The titee 


doorway (Pl. 14) in the entrance loggia of this palace and the doorway 


WAU ASSARE PERU ZZ 23 


of S. Michele-in-Bosco, Bologna (Pl. 51) were forerunners of his other 
perfect entrance, that to the Pietro Massimo palace. ‘The front of the palace 
in Via Giulia was once richly decorated in bronze gilt, fresco and grisaille 
still discernible in 1823, but obliterated while the building was a cavalry bar- 
racks in 1845. “The arched window in the niche contains a fountain. Ander- 
son says that this arch with the square openings next it (Pl. 22) ‘‘foreshadows 
the ‘motif a la Palladio’,” as indeed the opposite end does also. ‘The palace, 
judging from its style, was built between 1509 and 1512. 

In 1513 Pope Julius II. died. ‘This gave Chigi the chance to employ 
Raphael more unreservedly, altho Leo X., coming to the Papal chair pro- 
ceeded to justify Chigi’s prediction that during his reign art would come 
into its own and “Pallas reign supreme.” 

Letarouilly attributes to Peruzzi the large house No. 5 Via Governo 
Vecchio (PI. 23) of which the detail corresponds in general to other dwell- 
ings of his design. 

Also we may confidently ascribe to him the very interesting house or 
palace, Montalto, No. 7 Via Parione, almost unknown to students and 
critics. “Lhis was built early in his middle period and still has its Peruzzian 
entrance doorway and windows at each side, vaulted ceilings, courtyard 
with columns (now built in) and in the second story a fine triple arched 
loggia also partly closed with one window left in it, and a most beautiful, 
decorated vaulted ceiling. “This still preserves its colors and details. 

The house now belongs to the Society of the Piceni, a famous charitable 
society of Rome, and a description of it in “Picenum, Revista Marchigiana 
Illustrata”, given the writer by the president of the society, states: “The 
building situated in Via Parione No. 7, is called the House of Sixtus V.,! 
and that it belonged to the family of the great pontiff is shown by the paint- 
ings which adorn the vaulted ceilings and wall, upon which is repeated the 
coat-of-arms of the Peretti, quartered with that of the Orsini, in compli- 
ment to Flavia of the house of the Peretti. She was a niece of Sixtus V., 
who lived here, and wife of Virgilio Orsini, a son of Paolo Giordano duke 
of Bracciano. In the first loggia (room on second story) from left to right 
the vaulted ceiling shows praiseworthy paintings. In the centre of the 
vault is pictured a group (Pl. 24) representing two Nymphs, and a Cupid 
who is struggling with a Satyr. In the spandrels of the smaller ends (of 
the vault) two well-drawn, beautifully painted nude female figures repre- 
sent Morning and Night. Along the frieze occurring under the vault are 
ten lunettes in each of which is represented one of the nine Labors of Her- 
cules and also a group of Hercules and [ole. In the spandrels between the 
lunettes are four mythological figures, of which one represents Ganymede 
and the Eagle of Jove, another Leda and the Swan. In the intermediate 
space between the frieze and the central group occur triangular spaces deco- 
rated in the manner of Giovanni da Udine.” 


1See also Luigi Callari—‘‘I Palazzi di Roma’’—Societa Editrici Dante Aligheri. Roma, 
1907. 


24 LiL NED I ORI eee 


The writer, Nada Peretti, records that the work is attributed to Bal- 
dassare Peruzzi, Giovanni da Udine, and (later) ‘Taddeo Zuccaro. ‘There 
is no record for whom the house was built, but I should say it was completed 
before 1515. ‘There are some traces of restoration, but generally the frescoes 
are in wonderfully good condition, the drawing excellent and the colors 
harmonious. Many are of the best character of XVI century decoration and 
not well known. Certain frescoes which allude to the members of the 
Picini exalted by Sixtus V., and some others, must surely be later than 
Peruzzi’s time, as Sixtus V. (Perretti) was Pope in 1585-90. ‘The frescoes, 
however, of the vaulted loggia in the second story are probably all by 
Peruzzi and his associates, and of the date of the house itself, as are the 
frescoes of the early sixteenth century in a room on the ground floor, 
reached from the adjacent wine shop. “This was formerly a loggia opening 
from the court of No. 7 and has a vaulted ceiling decorated with arabesques 
and grottesche showing the signs of the Zodiac, etc., with delicately drawn 
leaf borders and small figures, all fast fading away. ‘This design is evi- 
dently inspired by the mural decorations of rooms discovered in the ruins 
of Rome, and Gruner in his Fresco Decorations etc., gives a fine colored 
plate of it with an account of other paintings in the house. 

At nearly the same period Peruzzi probably did the paintings ascribed 
to him, on the ceiling of the chapel, also now owned by the Society of the 
Picini, adjoining the cloister of San Salvatore in Lauro, Rome. ‘They are 
three in number and illustrate Biblical subjects in which the postures, ges- 
tures, figures and coloring are strongly Peruzzian. Here he possibly worked 
with Salviati who painted the large fresco, ““The Supper at Cana’, (intact 
in 1914) at the end of the room. 

The palace Savelli, now Orsini, was built by Peruzzi on a mound of 
debris in the Theatre of Marcellus and has been changed into a large apart- 
ment house. It still has many interesting remains of the ancient theatre 
and also some excellently carved and colored Renaissance ceilings, which 
repay study, and seem like Peruzzi’s designs. The date of this building 
is possibly nearly the same as that of the house by him in the Via Montserrato 
which bears the quotation from Vergil, “Trahit Sua Quemque Voluptas’, on 
the entrance door (Pl. 23) inasmuch as one doorway resembles the other. 

Serlio says that in excavating for a house for the Massimi on this 
site many of the details of the Theatre of Marcellus were discovered by 
Peruzzi, from which he made out the complete plans as given in Serlio’s 
book. 

Several authorities ascribe to Peruzzi, a window and balcony of the 
Palazzo dei Convertendi on the Borgo Nuovo just beyond the Piazza Scossa 
Cavalli, and further along on the corner of Borgo S. Angelo, the Costa 
Palace (Pl. 25) (see Letarouilly) which is also attributed to Raphael and 
A. San Gallo. 

The palazetto Spada (not the palace) is credited, by Burckhardt, to 
Peruzzi (Pl. 26) and Mr. J. H. Worthington advances the new and probably 


Del L) awe AR Be (PE RAZ I 25 


true theory that the small palace (Pl. 23) adjoining the Lante Palace, ‘on 
the Piazza Caprettari, is by Peruzzi, as the details are exactly in his vein, 
and like those of the Ossoli palace, with a rusticated doorway and details 
of the ground floor windows corresponding in proportions to those of that 
palace. As to the palace Lante itself, probably Sansovino, and not Peruzzi, 
designed it, as Letarouilly explains, but certainly, if so, in his “Peruzzi 
manner’, done before he went to Venice. It was built by Pope Leo X. 
for Giuliano de Medici. 

On the contrary, the Vigna di Papa Giulio (III.) on the Vial Flaminia, 
not far from the Villa di Papa Giulio, is, as able critics assert and Mr. 
Worthington well proves, all from Peruzzi’s plans (Pl. 27). ‘The design 
itself must be later than that of his villa Mieli at Siena, which has the 
plan in contour of the Farnesina and the second story pilasters of this Vigna. 
The plan of the Vigna, brought to its present form not later than 1512, 
is given by Letarouilly, and the details are like Peruzzi’s, especially in the 
interior pilaster capitals and in various mouldings, and the rustication of 
the entrance is like that of the Ossoli palace. It was begun by the uncle 
of Pope Julius III., Cardinal Antonio Fabiano di Monte, who died in 1533. 

M. Ingres, the eminent French painter confirms the assertion of earlier 
authorities that in the Cancelleria palace the ceiling of a second story rear 
corner room, which is barrel-vaulted with penetrations, was decorated by 
Peruzzi with paintings of the Creation, etc. It is well given by Griiner 
and by Letarouilly. This seems to me one of the most beautiful ceilings 
in Italy if not in all Europe, in design, color, and detail; a work of exquisite 
refinement, but a special permit must be obtained in order to see it, as it 
is part of the residence of a Cardinal. 

We know that Raphael’s personal work in painting or architecture 
was confined frequently to the original sketch, its execution being often neces- 
sarily left to others, especially at the height of his fame and success in 
Rome, when Raimondi, so constantly spread his name by engravings of his 
paintings, but in most of Peruzzi’s creations his personal hand is conspicuous, 
due to the fact that he so seldom collaborated and so often carried his own 
designs to completion. An instance of this occurred when, for a gorgeous 
banquet given to Giuliano de Medici on September 13, 1513, on his election 
to Roman citizenship and before he was made Commander of the Papal 
army, Peruzzi painted one of the six historical scenes done by six eminent 
painters.1 His was ten canne (Vasari says seven) or forty-two feet high 
by three and one half canne wide, and represented the betrayal of the Romans 
by Julia Tarpeia. Vasari tells us it was considered the best of the six, 
which were shown on a stand in front of the Conservatori palace. 

On March 11, 1514, Bramante died. During his last year he had had 
the assistance of Raphael and the aged Fra Giocondo da Verona. ‘fhe 
work of St. Peter’s was turned over to Raphael and Fra Giocondo in April 


1 Vasari apparently confuses the banquet (1513) with the later ceremonies (1515). See 
“Giuliano de’ Medici Eletto cittadino Romano etc’. by Pasqualucci—Rome, 1. 


26 LIE ECAN Dg ORGS? OF 


after Giuliano da San Gallo had declined it and, in August, Raphael having 
presented his design was made chief architect. It is logical to suppose 
that Peruzzi, if not helping then in the work, at least kept informed of 
its progress, as he was, although over modest, one who kept among men 
and affairs of the day. [Earlier of course he must have known socially 
Bramante, at whose table he was a frequent guest, Bramantino, Raphael, 
~ Michel Angelo, Pintoricchio, Beccafumi, Sebastiano del Piombo, Bazzi (or 
Sodoma) ; and also Giovanni da Udine, Pierino del Vaga and Daniele da 
Volterra, (three men who worked under him in the Massimi palace) ; Giuliano 
Sangallo, Antonio Sangallo the Elder and also the Younger, Signorelli, 
Lotto, Sansovino, Sanmicheli, Serlio, Mantegna, Caravaggio, Maturino, Sal- 
viati, Vasari, and a host of other artists. Many other men prominent in 
Italian social life, such as members of the Pio family, Bindo Altoviti, the 
Massimi and many cardinals, were among his friends and clients. 

It was Altoviti, whom Cellini describes as a combination. of art-lover and 
over-keen man of affairs. He was born September 24, 1491, of a Floren- 
tine family, became wealthy and liberal toward art, making a famous collec- 
tion of antiques in his Roman house on the ‘Tiber only a short distance 
from Raphael’s, at the end of the Sant’ Angelo bridge. Peruzzi as well as 
Raphael painted his portrait. “The former’s is now in the Munich Gallery 
No. 1052, the latter’s in the Monaco Gallery,! bought directly from the 
Altoviti family in 1808. Altoviti died January 22, 1558, after defeat in 
fighting against the Florentines. 

With certain artists in Rome, Peruzzi associated on his own and other 
designs and buildings. It is, however, significant, and shows the high estima- 
tion in which he was held by clients, that both as architect and painter, he 
was oftener busy upon his own creations than employed to assist others. 
The most notable exceptions to this are his work as assistant to Bramante, 
and later alone and with Antonio Sangallo the Younger, on St. Peter’s. 


1 “Raphael” by Minghetti. 


Pein so deh PER UZ, Z I 27 


CHAPTER IV 
Rome-Carpr- lopI—1 514-1522 


While in Rome in 1513 or 1514, Peruzzi designed and then made a 
model for the Duomo of Carpi at the request of Alberto Pio da Carpi, whom 
he met about 1510. A letter from Pio to his agent dated May oth, 1515, 
says he is sending the model. ‘The interior of this church is imposing and 
monumental, due to its plan (PI. 28) and proportions, which are really 
all that can now be called Peruzzi’s. Bedford states, ““The model was still 
preserved in the Cathedral in 1604, when Spaccini of Modena visited Carpi 
and wrote, ‘His Highness went to the Cathedral of Carpi to see the model 
of that church designed by Baldassare of Siena’”. Pizzoli of Carpi also 
‘attests the fact of its existence. “Ihe church was only partly built when 
Alberto Pio suspended the work so that his other church of S. Niccolo might 
be completed, and afterwards war prevented finishing the Duomo so that 
it “remained uncompleted until 1606”. ‘There is no record of the destruc- 
tion of the model which may yet come to light in some forgotten corner. 
Certain details of this cathedral appear to be much later than Peruzzi’s time, 
and the colors of the decoration are restored. It gives a fair idea, however, 
of what Peruzzi could have done architecturally had he lived to build 
St. Peter’s. 

Carpi is an interesting town about nineteen miles north of Modena. 
It contains even now much excellent architecture testifying to the taste of 
Alberto Pio who was a pupil of Aldus Manutius and a patron of Ariosto. 
The'splendid portrait of him painted by Peruzzi in 1516 is in the collection 
of Dr. Mond, of London. In 1523 he was declared a rebel and deprived of 
his estate by Prospero Colonna and was banished by Charles V. in 1525, 
his house in Rome being burned in the sack of 1527. His famous effigy, a 
reclining figure, is now in the Louvre. 

There is considerable work in Carpi which suggests Peruzzi’s hand or 
influence, and on one of the colonnades, the High Portico (Pl. 31) next 
to the main or long “galleria”, is an archivolt moulding which is almost 
an exact duplicate of the mouldings of one of the arches of the porch of 
S. Michele in Bosco, at Bologna, where Peruzzi’s decided quirk on the 
ogee moulding is found. ‘This frequent and peculiar ogee of Peruzzi’s is 
noted by Anderson in Peruzzi’s work generally. 

Semper says, in his “Carpi”, “The archivolt of the small arches on the 
facade of ‘La Sagra’ (the old cathedral) corresponds to that of the arches 
of the High Portico. ‘The capitals also show similar designs. But also 
between the members of the church front and of the High Portico on the 


1Tllustrated in Mintz, “Le Fin de la Renaissance’’. 


28 ITE E-CAWN DAHA RBar 


one hand and those of the castle courtyard, on the other, there exists an 
unmistakable relationship of profiles of mouldings, especially in the archi- 
traves and cornices”. All of which are due to Peruzzi’s influence, if they 
are not his actual works. “The upper story of the castle front with niches 
between pilasters also seems characteristic of him. 

The nave of the church of San Niccold (Pl. 29), a most original 
plan in its successful alternation of domes and barrel vaults over the bays 
of the side aisles, it is said was based on San Pietro at Modena. Campori 
states, ‘““The authorities have recognized, in this noble and magnificent 
church (San Niccolé at Carpi), the pure and graceful style of Baldassare 
Peruzzi” and also that Peruzzi was probably the author of the model 
which Alberto Pio sent from Rome in 1513 with the order that the same 
year the third part of the church should be finished from this model, which 
was accomplished during 1520. He also designed the new facade of La 
Sagra (Pl. 30), or old Cathedral, in 1515, when the old front was destroyed 
to make room for the palace encroachment. In this new facade he rey- 
erently and harmoniously incorporated the Romanesque doorway of the 
older church. Mr. Longfellow! notes that here Peruzzi used “‘the char- 
acteristic motive which Palladio employed later at Venice in the churches 
of the Redentore and San Giorgio Maggiore, which is usually considered 
his (Palladio’s) property”. Authorities also attribute to Peruzzi the Rotonda, 
an octagonal building erected in 1511 and taken down in the seventeenth 
century, of which the writer can find no plan, but it may be one of the 
Uffizi sketches herein reproduced. Campori believes that Peruzzi designed 
the bastioned walls which Pio built around the city in 1518-20. Undoubtedly 
the models for all the constructions in Carpi designed by Peruzzi were made 
in Rome and sent by Alberto Pio to Carpi from 1511 to 1515, as we find no 
record of Peruzzi’s presence in that city. Alberto Pio is said to have pre- 
ferred him to all other architects and Cardinal Ridolfo Pio also was a 
patron of Peruzzi’s in Rome. Carpi and its records of the Pio family may 
yet reveal to future research further work of the Sienese architect. 

Bernardo Dovizi of Bibbiena was a close friend of Isabella d’Este and 
his letters are full of devotion to her and her interests. He was made Papal 
Secretary at Rome at thirty-three years of age, upon the election of Leo X. 
(Giovanni de’ Medici) and soon advanced to a cardinalship. His ‘‘well- 
dowered” niece Maria was she whom Raphael did not wish to marry, who 
lies buried near him in the Pantheon. When Isabella d’Este came to Rome 
in 1514, Dovizi caused to be performed, especially for her, his comedy 
“Calandra” taken from Plautus’s ‘“Menoechmi’. Vasari writes of this as 
follows: ‘“When the Calandra, a drama written by the Cardinal di Bibbiena 
was performed before Pope Leo, Baldassare prepared all the scenic arrange- 
ments for that spectacle in a manner no less beautiful, nay rather it was 
much more so, than he had exhibited on the occasion referred to above; 
(i.e. banquet to Duke Giuliano de’ Medici, September 13, 1513), and his 


1°The Brickbuilder’’, Boston, Mass. Vol. VI—Nov. 1897—-No. 11, 


eae Aa ek Ee Pe RU ZeZ I 29 


labors of this kind deserve all the more praise, from the fact that these per- 
formances at the theatre and consequently all accessories required for their 
presentation had long been out of use, the festivals and sacred dramas having 
taken their place. But either before or after the representation of the 
Calandra, which was one of the first comedies seen or recited in the vulgar 
tongue, in the time of Pope Leo X. that is to say, Baldassare painted two of 
these scenic decorations, one of which was surprisingly beautiful, and opened 
the way to those of similar kind which have been made in our own day. 
In the arrangements of lights Baldassare also showed equal ability.” 

That Peruzzi was chosen again for work of this kind is evidence of 
his renown. It was a specially important event for him and for the drama, 
since he then invented, designed and used for this play the first movable 
scenery and its machinery employed upon the modern stage. 

In the Palazzo dei Conservatori in Campodoglio, Rome, the historical 
paintings of scenes from Roman history in the room of “the Fasti’’, and 
of the Punic wars in “room of the Punic wars’, formerly attributed to 
Benedetto Buonfigli of Perugia and Alessandro Botticelli of Florence, are, 
Gustavo Frizzoni says,! by Peruzzi. ‘The hall of “the Fasti’ represents 
the ‘Triumph of the Kings of Rome. ‘These were done about 1515. He 
also designed, date unknown, a Triumph of a Roman Emperor now in the 
Louvre (of a subject kindred to a sketch (Pl. 32) now in the Metro- 
politan Museum, New York), reproduced in engraving by Marc Antonio 
Raimondi, according to Milanesi, IV., p. 595. 

In 1516, he executed his greatest decoration with figures, in the Ponzetti 
Chapel in Santa Maria Della Pace, Rome (PI. 33), also the decorations 
of the semi-dome above it. It was done for Fernando Ponzetti Archdeacon 
of Sorrento and president of the Apostolic Chamber, who is represented 
kneeling in adoration. “This was for a long period covered by another 
painting of Santo Ubaldo painted by Baldi. In 1893, Luigi Bartolucci 
restored this work, removing the last traces of its former covering. ‘To 
many it is the best and most inspiring painting of its kind in Rome, and 
some critics, going there to see Raphael’s work, have remained to admire 
Peruzzi’s picture. Arthur Symons says of it, “I am never tired of the 
Pace, the Church of Peace, which nestles against the Anima, the Church of 
the Soul, in a poor central part of the city, and it is not for the Sibyls of 
Raphael, admirable in grace of invention as they are, that I go to it, but 
for the frescoes of Baldassare Peruzzi on the opposite wall, with their 
gracious severity, their profound purity.” 

Also he painted in this church the Presentation in The Temple (Pl. 34) 
for Filippo Sergardi da Siena, probably of that same Sienese family who 
were not long ago the owners of a Madonna and Child by Peruzzi. This 
Presentation is the painting that Annibale Caracci studied and admired so 
much, as Lanzi states in his praise of it. Caracci’s sketch of it, was in the 
Duke of Devonshire’s collection. 


1“1)i Alcuni Opere di Disegno”’ as before given. 


30 PEE VAS Dw e kone 


Vasari, giving no date, says that Baldassare executed a very beautiful 
facade, now destroyed, near the Piazza degli Altieri for Francesco Buzio, 
depicting on the frieze, from life, all the cardinals then living, while on the 
wall itself were historical scenes representing the Caesars receiving tribute 
from all the kingdoms of the world, and above painted the twelve Emperors 
placed on corbels; also an escutcheon supported by three boys with the a arms 
of Pope Leo X. near the Banchi. 

Also for Fra Mariano Fetti, Frate of the Piombo, he made in terretta 
a design of San Bernardo for the garden of Monte Cavallo, and for the 
Brotherhood of Santa Caterina of Siena in the Strada Giulia, Rome, an 
exceedingly beautiful bier for the removal of the dead for burial. ‘This 
is spoken of by Fabio Chigi in his ‘“Commentario di Agostino Chigi”’ (Mila- 
nesi, LV., page 579), who also says that it was purchased during his life- 
time by Parked Duke of Mantua. 

Raphael being placed by Leo X. in charge of the theatrical production 
of Ariosto’s “Suppositi” at the Vatican in 1519, Peruzzi supervised the 
scene painting and probably then produced his design of Roman buildings 
and remains which is now in the Uffizi (Pl. 35). The scene certainly sug- 
gests this probability because on this occasion Raphael is said to have been 
able to reproduce effectively the splendors of Rome. 

At Todi, that ancient and still primitive Etruscan stronghold, the im- 
pressive five- tonted church, Santa Maria della Consolazione (PI. 36) out- 
side the walls, has been attributed to Bramante as his original design for 
St. Peter’s. “This seems questionable. “The construction was begun in 1508 
by Cola Mateuccio da Caprarola and finished by others from 1516 to 1606. 
Milanesi says that Peruzzi was called to Todi in 1518 to consult on this 
church and his sketches in the Uffizi show his proficiency in designs of this 
kind, witness his design for St. Peter’s, and also that he visited Todi. 
Moreover, the affix “da Caprarola’ suggests that Mateuccio knew, Peruzzi, 
who certainly did work at Caprarola and had a recorded acquaintance there. 
The Messrs. Fletcher in “A History of Architecture’, conclude that the 
design of S. M. della Consolazione is due to Peruzzi’s influence, and a per- 
sonal inspection of the building strengthens my belief. 

In 1520 Raphael died at thirty-seven and soon afterward in the same 
year, Agostino Chigi passed away. On August Ist, 1520, shortly after 
Raphael’s death, Peruzzi was appointed architect of St. Peter’s. Leo decided 
to abandon Bramante’s gigantic plan and also Raphael’s later project with 
nave and side aisles. He therefore asked Peruzzi to restudy the problem, 
and according to Serlio, Peruzzi made the plan (PI. 36) based on Bramante’s 
but more beautiful and more practical. He also made a model for which 
he was paid a total of forty-five ducats. Peruzzi never had time to carry 
this design to completion, but the plan is roughly preserved for us by Serlio 
in his Book III on architecture, Venice, 1549. As architect Peruzzi directed 
the construction of St. Peter’s for nine disturbed years, 1520-27—1530-31— 
1535-36. 


Bee ASS ARE PER UAZI 31 


Geymiller says that Peruzzi was appointed merely as an associate of 
Sangallo’s, but Bedford says that Geymiiller ignores ““The codex in the 
Biblioteca Nazionale, Florence, which Aurelio Gotti published in his ‘Vita 
di Michel Angelo’ (in the same year as Geymiller’s ‘Progetti?) in which 
San Gallo himself says that he succeeded Peruzzi as architect-in-chief of 
St. Peter's’. Also “Vasari clearly infers that San Gallo succeeded Peruzzi, 
and Vasari was well acquainted with the work, as he shows the church in 
the course of construction in 1546, in his own fresco in the Sala dei Cento 
Giorni in the Cancelleria palace, with the choir of Peperino marble built 
up as high as the triglyphs of the Doric order”. (Bedford Journal R. I. B. A. 
Feb. 22, 1902.) ‘There is, in fact, now in the Barberini palace, Rome, an 
engraving of Peruzzi’s choir made by H. Cook in 1550. Geymiller in his 
zeal for Bramante and Raphael hardly does Peruzzi justice, yet admits that 
from certain designs of Peruzzi’s he does not think Vasari praises him too 
much. 

Of Peruzzi’s plan for St. Peter’s, Serlio says, “In the time of Julius 
the second there lived in Rome ‘Balthazar Petruchio’ of Siena, not only an 
excellent painter but a very well versed and expert architect, who following 
in the footsteps of the aforesaid Bramante, made a model in the form which 
is shown below, and planned that the church should have four entrances, 
placing the High Altar right in the middle of the said church. 

“On the four corners he planned four sacristies and vestries upon which 
were to be built towers for decorative effect and especially on the front 
looking toward the heart of the city.” He follows this by giving the 
dimensions in the ancient Roman palm (8%”). 

Peruzzi’s many designs for St. Peter’s show that no one studied more 
fully the plans for that edifice, or was more intimate with the projects and 
construction than he, over a period of more than thirty years. Vasari states 
in “Bramante da Urbino’, that “Peruzzi effected changes, when he con- 
structed the chapel of the King of France in the transept which is on the 
side toward the Campo Santo’, also in the lives of G. & A. da San Gallo 
he speaks of Bramante “having won over Baldassare Peruzzi and Raffaello 
da Urbino to his opinions’, etc., showing the prominence of Peruzzi as one 
to be consulted even before Bramante’s work of construction began in 1506. 

Another plan attributed to Peruzzi is here given (Pl. 43). Of this 
Mr. Lawrence Grant White, the owner of the original, who has kindly 
allowed its reproduction, says: 


“STUDY FOR THE PLAN OF ST. PETERS, ROME? 


“This drawing presumably made in 1505-1506, is reproduced (in out- 
line only, on Plate 45) in Baron H. von Geymiller’s well-known work, 
“Les Projets Primitifs pour la Basilique de St. Pierre a Rome”, from which 
the following translation is an exerpt’’. 

“Tt is attributed to Peruzzi. We can prove, however, that it is Bra- 


32 LIFE AND WORKS OF 


mante’s composition, and that it was drawn for him. It is drawn, mostly 
with the compass and ruler, on paper, at large scale and tinted with dark 
sepia. I am indebted to the well-known architect Poletti, of Rome, for 
having seen this plan in 1869. He kindly allowed me to make a tracing 
Onsit ;, 

“On it is written in a handwriting of a later date than the draw- 
ing itself, the following inscription: ““Baldasar Petrucci Senese”’, then “No. 
10. Pezzo unico. 

“Tt is possible that the name of Peruzzi was added only because of the 
great resemblance of this plan to that attributed to the latter by Serlio. 
The spelling of “Petrucci”, which Serlio also employed for Peruzzi, seems 
to confirm this supposition. Considering, however, the two variations of 
the same scheme for the front of this plan which we have by Peruzzi, one 
of which at all events, was drawn for Bramante, we can state with cer- 
tainty that the composition of which we have just spoken is also Bramante’s’’. 

How can it be denied that it is Peruzzi’s composition from Bramante’s 
earlier plan 1505-6? If we credit the plan given by Serlio, as appreciably 
Peruzzi’s, we must credit this also to him. Geymiller further states, without 
giving his reasons, that it cannot be afhrmed that Peruzzi is even the 
draughtsman! But his statement is not convincing, and the name on the 
plan must, for the present, remain a strong proof of Peruzzi’s authorship. 
It is included herein as valuable for later investigations which may result 
In giving to Peruzzi’s exhaustive studies that greater appreciation which 
so many feel is due him. 

Visitors to ““The Bramante Exhibition” of April, 1914, in the Uffizi 
saw many studies of Bramante’s for various buildings, and one of Peruzzi’s 
for St. Peter’s “under Bramante’. Many other sketches in the Uffizi 
(Pl. 37, 38, 39, etc.) made by Peruzzi, show clearly the gradual growth 
of his personal ideas for the superb plan (PI. 36) which he finally made. © 
In its strength and beauty this was not surpassed by Bramante’s on which 
it is evidently based. It has a mere suggestion of the arrangement, grandeur, 
simplicity and richness in detail, of Santa Sophia, Constantinople, but ex- 
pressed by a designer who knew how to group his masses and to distribute 
and resist the thrusts of a great dome better than did Anthemius of ‘Tralles 
and Isodorus of Miletus, the architects of Santa Sophia, which once threat- 
ened to collapse and recently has again given cause for anxiety. ‘This plan 
of Peruzzi’s has inspired many a later architect by its perfect harmony and 
proportion of parts and especially its superb constructive expression. Juan 
Bautista de Toledo adopted it for his plan of the Escorial. (See ‘‘Spanish 
Architecture of the XVI Century”, Bayne & Tapley, page 424.) Also in 
the original competitive design for St. John the Divine, New York, a some- 
what similar treatment in the rounded ends of the apse and transepts occurs. 

Peruzzi, as stated, personally spent a considerable part of nine years’ 
time on St. Peter’s, correcting its first faults, and completed the south tran- 
sept, says Vasari. It must have been hard and discouraging work with all 


eee ao w Ae eh ee ROO ZZ I 33 


the interruptions. He also, when Clement VII. became Pope on November 
19, 1523, made preparations for the coronation, and, using Peperino marble, 
completed the facade of the principal chapel, begun by Bramante. In the 
chapel containing the bronze monument of Pope Sixtus, Peruzzi painted later 
(probably in 1524) the Apostles in chiaroscuro, only the St. Peter now being 
saved in the present crypt, the “grotte scure’ of the Vatican, according to 
Milanesi, Vol. IV, p. 601. He also designed the tabernacle for the Sacra- 
ment in that chapel, which Bernini’s design now replaces. 

A plan for St. Peter’s by an unidentified hand but in Peruzzi’s manner 
(Pl. 43), is here given, which though suggesting the design which Michel 
Angelo built, yet has lettering strongly like that of Peruzzi, especially in 
the ““P” similar to one on his drawing for the plan for the Massimo palace 
and at the rear door thereof, and like the “P” in a circle on the right hand 
and lower side of a drawing by Peruzzi, Plate 20, Geymiller’s “St. Pierre” ; 
also the figures “4” and ‘“‘g” and letter “1” are much like Peruzzi’s. Pos- 
sibly, though not probably, it is the lettering of Antonio da Sangallo the 
Younger who succeeded Peruzzi on St. Peter’s, but it is surely not the 
hand of Michel Angelo. It is a very interesting question as to who designed 
this plan. Future research may find the solution. ‘The actual size of the 
entire drawing proper is 209” x 27 9/16” with lines in sepia and walls 
washed in with what is now a beautiful faint purple tint. ‘This also comes 
from Mr. White’s collection and was found in Rome. Could it be Peruzzi’s 
study, suggesting the form which Michel Angelo finally adopted? It seems 
to the writer hardly possible. 


34 LIE Ea IN Daag BS ON 


CHAPTER’ V 
BoOLOGNA—1522 


Although there is no record of it, Peruzzi probably was in Siena several 
times between 1503 and 1522. Otherwise it is difficult to explain how he 
accomplished so much work there in the years intervening. Also Vasari’s 
statement that he was ‘“‘almost compelled to return (from Bologna) to 
Siena” to fortify the city, strongly indicates that he was in Siena when in 
1521-2 he was asked to go to Bologna. ‘This invitation came from the 
wardens of works of the church of San Petronio and he accepted it for the 
purpose of competing for the alterations of that great church. Undoubtedly 
his fame as architect of St. Peter’s, of the duomo at Carpi, etc:, had pre- 
ceded him. 

His resources were still slender but fortunately he was the guest of 
Count Giovanni Battista Bentivogli, a prominent citizen, and was also 
befriended by Signor Panfilio dal Monte and others during his stay. In 
the sacristy of San Petronio are still preserved several of his designs for that 
church, made at this time in Bentivogli’s house, according to Vasari, one 
showing a free use of Gothic architecture. 

He also made among others a classic design, but the most noteworthy 
drawing exhibited there now is the longitudinal section showing a noble 
dome, cupola and nave most ably drawn both as to construction and detail, 
but yellow with age and hence difficult to photograph. Gaye states that 
he designed still others, and Stegman and Von Geymiller give a reproduc- 
tion of Peruzzi’s drawing for a detail of the front, which after having 
been long lost came into the possession, in 1884-5, of the French art dealer 
Thibeaudeau in London. It is a rich design elaborately detailed (Pl. 44). 
Although his work was highly praised by many men, including Erede Secca- 
dinari, the architect, the reconstruction of this church was never carried out. 

It is well worth visiting the Sacristy to see how clearly Peruzzi outshone 
his competitors in the drawings which are hung along with his, and yet he 
apparently received, on July 12, 1522, only eighteen /Jire, although it is likely 
that this was merely for some small part of his work. ‘The weakness of 
the old building seems to have been the chief reason for abandoning the 
contemplated alterations. 

In considering his other works in Bologna we must remember that — 
Peruzzi was there but a short time and that he personally saw little if any 
of the work from his designs carried to completion. In the church of San 
Domenico, the Chapel Ghisilardi, a fine brick construction at the left of 
the front, is his work (PI. 38). A sketch plan in the Uffizi also suggests 
this. ‘There are traces of his design in the church of Madonna di Galliera, 
especially the small door on left of the front (Pl. 46). 


Pela AE PERU ALI 35 


In the church of San Procolo, in a little niche closed by a door and 
under the organ, is a small colored bas-relief of the Adoration of the Magi, 
attributed to Peruzzi. 

I] Lamo states that he designed the great Albergati palace (Pl. 47). 
This is an almost overpowering front reminiscent of ancient Roman splendor, 
so grand is its scale and so simple its lines, as you come suddenly on it after 
winding through Bologna’s colonnaded streets. It was never completed, but 
the present main entrance was to have been on the centre line of the front 
which gives one a good idea of the noble proportions of the entire facade, 
built of brick, terra cotta and marble. Anderson! gives this building unstinted 
praise, as do many authors. Mr. J. H. Worthington is inclined to think, 
from evidence which he presents, that it was due to Peruzzi but continued 
by Serlio and finished by others from 1540 to 1581; arguing also that the 
details are more clumsy than Peruzzi would have drawn. After careful 
study the writer feels that, while there may be some points to criticize, Peruzzi 
would purposely have avoided great refinement of members in a building 
so massive, so Roman in proportion and general style. ‘The lower windows 
especially are singularly like those by Peruzzi in the Villa Mieli, Siena. It 
is, at all events one of the great designs of the Renaissance. Certainly no 
palace in Bologna and few in Italy surpass it in conception. Had the entire 
front been completed as intended with its single central doorway, thus elimi- 
nating the smaller door to the right, it would have emphasized the noble lines, 
and been a masterpiece of proportion. 

The courtyard of the Cornelio Lambertini palace, or Lambrino, as 
Peruzzi lettered it on his sketch, afterward a part of the ancient Albergo 
del Commercio in Via Degli Orefici, is stated by Malaguzzi Valeri,? a 
cautious critic, to be an undoubted work of this master, and his plan is in the 
Uffizi collection. ‘The last remnants of this courtyard, Doric columns, etc., 
have now been torn down unappreciatively, to make room for a public 
building. “The remnant consisted, according to Malaguzzi, of the follow- 
ing: “A side opposite the entrance with high Doric columns ornamented 
with a band of rosettes around the capital. . . . “The loggia above is 
modern”. i 

The courtyard of the Boncompagni (later Benelli) palace, finished in 
1543-4 is also believed to show Peruzzi’s influence. ‘The circle and diamond 
ornament on the second story window recalls the same design used horizontally 
on the front of Peruzzi’s palace in the Via Giulia, Rome. ‘The entrance 
door of this Boncompagni palace is also possibly due to him (PI. 48). The 
rear of the palace bears a tablet on the street wall with incised lettering 
showing the date of actual completion to be 1543. 

The Palazzo Fioresi (Pl. 49), formerly Monari, in Via Galliera, built 
for Messer Panfilio dal Monte, is in spite of its attenuated columns, believed 


1“The Architecture of the Italian Renaissance”. sore : 
*“T’ Architettura a Bologna del Rinascimento, Rocca San Casciano. Lincino Capelli 1899. 


Lavoro del Conte Fr. Malaguzzi Valeri’. 


. 


36 Eel EAN DECOR a ths 


by Il Lamo to be a design by Peruzzi; also a design of Peruzzi’s from Mr. 
Lawrence Grant White’s collection probably is a first study for this or a 
similar palace front so closely do certain details of the sketch correspond to 
those of this palace. 

Peruzzi has been credited with having designed the large window in 
the exterior wall of the ground floor of the Palazzo Pubblico (Pl. 50), 
as well as a doorway, strongly Peruzzian (Pl. 50), of refined character in 
the loggiato. ‘This is reached, on entering the great courtyard from the 
piazza, by walking immediately under the Joggiato to the right and then to 
the left to the centre line of the courtyard. 

It was during his Bologna work that he designed for his friend Count 
Giovanni Battista Bentivogli, in 1522, the picture, Adoration of the Magi, 
containing portraits of the Magi, of Titian, Michel Angelo and Raphael, 
which was engraved by Agostino Caracci in 1579. “This design and a copy 
in oil on wood, which may have been done by Girolamo da Trevigi, 1521-22, 
although that was said to have been lost in a shipwreck, are now in the 
National Gallery, London, the copy having been presented by Lord Vernon 
in 1839. Of the first one Bartolommeo Cesi also made a copy which was 
once in possession of the Rizzardi family in Bologna. Wadagen states that 
‘Trevigi’s copy is not the one in the National Gallery but that this is by some 
Ferrarese artist, “equalling Rinaldo of Mantua”’.! ‘The Escorial too has a 
reddish copy on wood in Peruzzi’s manner, with the Colosseum, pillars, tem- 
ples, and a marble Caesar on a pedestal in the distance. 

In “Fac-Similes of Original Studies by Raphael’ in the University 
Galleries at Oxford, etched by Jos. Fisher (London Bell & Daldy 1872), 
there is a reduced reproduction in plate 18 of a drawing of another Adora- 
tion of the Magi, which is therein attributed to Raphael, but is distinctively 
in Peruzzi’s manner and closely like the one in the collection of Prince 
Hohenzollern of Sigmaringen, made for the tapestry now in the Vatican. 
The facial expression, the details of garments, folds, dresses, general com- 
position and accessories mark it as the work of the Sienese master. 

For the church of San Michele in Bosco, belonging to the monks of 
Monte Oliveto, situated on a hill near Bologna, Peruzzi designed in 1522-3 
the famous beautiful marble doorway (PI. 51). ‘This shows such decided 
refinement as to have given rise to the wish in Mr. Worthington’s mind 
that he had left the frieze plain, but, as it stands, it is so nearly perfect in 
proportions and so refined in detail, that the doorway to the Pietro Massimo 
palace in Rome, is the only design of his with which we can compare it, 
and there are no equally simple and beautiful Renaissance doorways designed 
by any of his contemporaries or pupils. In these two doorways especially 
we see indisputable evidence of the thorough training of Peruzzi in archi- 
tectural detail, for although the actual work of the San Michele one was 
executed by Bernardino di Milano and Giacomo da Ferrara, the very out- 
lines, mouldings and ornament are full of the architect’s personal thought 


1 “Treasures”, p. 236, Vol. VII, by Waagen—See also Crowe & Cavalcaselle. 


ees AK EO Pek RU FeLi 37 


and care. “Lhe corbels show a classic ornamentation like that on the cornice 
corbels of his Pollini palace and other buildings at Siena, as Mr. Worthing- 
ton noted. 

The polygonal courtyard of San Michele shows a use of the so-called 
“Palladian motive” which Peruzzi uses in the palace on Via Giulia, Rome. 
The proportions of this motive if not the smaller details of columns and 
mouldings of this San Michele court also are in Peruzzi’s manner. Upon 
the church entrance porch occurs a certain quirked moulding, i.e., the ogee 
of the moulding of the archivolt already alluded to as occurring also at Carpi. 

Lanzi speaks of Peruzzi’s “highly facetious” grotesques done here at 
Monte Oliveto. The ornamented interior pilasters of the apse of the church 
of San Michele also strongly suggest Baldassare’s work in the apse of the 
Duomo at Siena. ; 

In Mr. Lawrence Grant White’s collection is an excellent drawing by 
Peruzzi probably for a portico or colonnade in Bologna. It is a valuable 
illustration of the great beauty and precision of his line drawing. 

After Leo X. died, Adrian VI. De Del of Utrecht, the Flemish Pope, 
was elected in 1522 for the short balance of his life, since in 1523 he too 
passed away and Giulio de’ Medici, as Clement VII. then became Pope. 


38 LIFE AND WORKS OF 


CHAPTER VI 
SIENA—1507-1523—-VITERBO—F ERENTO 


It is well here to glance back and mention more of the works which 
were done by Peruzzi in Siena possibly during his visits at widely separated 
intervals after he first went to Rome and until he came back from Bologna 
in 1522-3. In Siena the excellent building of Santa Martha, now the Siena 
Orphan Asylum, Romagnoli attributes to Peruzzi’s design of 1507 but Della 
Valle (Vol. III) in “Lettere Senese” etc., says that a pupil of Peruzzi, 
Di Lari (Il Tozzo), built it in 1535. Even if so this would hardly deprive 
Baldassare of all credit, yet it is so like his work that there seems to be 
strong probability that he was closely connected with its design. During 
all his life he seems to have had the confidence and respect of the best citizens — 
of Siena and there is proof of his affiliation with the Brothers of San Dome- 
nico, in that he made for them several meritorious designs for the reconstruc- 
tion of their barn-like church and by their attorney a loan was made to him. 

Five and a half miles outside of Siena, at Sant’Ansano-a-Défana, he 
designed and built of brick, in 1508, the simple and substantial Martirio di 
San Anselmo which is still standing and contains the painting of a Madonna 
which was exhibited in Siena not long ago. 

Before the year 1512 and probably when ambitious Pandolfo Petrucci 
became undisputed master of Siena, he asked Peruzzi to design a “porticato”’ 
or arcaded portico around the Campo (now the Piazza Vittorio Emanuele) 
opposite the Palazzo Pubblico. Petrucci died at San Quirico in 1512 and 
the design was never executed, but the idea was revived in 1547 and again 
abandoned. A rough drawing by Pomarelli from Peruzzi’s design, and now 
in the Opera del Duomo, is impressive although too small to convey clearly 
what effect the structure would have had in the intended location. Mon- 
dolfo in “Pandolfo Petrucci” speaks of this design for the “porticato” and 
others have praised it. 

Venturi in his brochure, ““The Farnesina’”’, where he states that Peruzzi 
worked much for the Chigi family, says that he painted, in a portrait of 
the Virgin, the likeness of Petrucci’s daughter Sulpizia, whom Cellini called 
“Porzia’. She was the wife of Sigismondo Chigi for whom Peruzzi built 
the Villa Chigi-Mieli. Vasari speaks of her as a woman gentle in every 
way and Peruzzi named one of his daughters Sulpizia. 

Not far beyond the villa Mieli, near the villa Nerucci, is the charming 
“Podra (Podere) delle Loggie’, or farmhouse with the loggias, called 
“T?Apparita” (Pl. 1). Peruzzi’s portion of the design is a red brick con- 
struction on the end of this farmhouse, although he may have done more 
not now evident. ‘The date is unknown, but it is a fairly early work of 


ba Ee DASS ARE PER ULZI 39 


merit which deserves preservation in a scale drawing by some architectural 
scholar. ‘Tradition ascribes it to Peruzzi as does A. Ricci also, in “‘Storia 
dell’ Architettura Italiana’, and this is probably correct as he seems to have 
had professional relations with the Nerucci family (near whose villa it is) 
in designing for them a ceiling in their Siena palace, which was planned by 
his master, Francesco di Giorgio. ‘This is now the Banca d’Italia of Siena. 

At Cerreto-Ciampoli, five miles south of Siena, he built a gateway, 
according to Della Valle (in “Lettere Senese’”’) and a chapel with a Nativity 
showing the Saints, Bernard, John the Baptist and Jerome, and above -the 
arch The Eternal Father; also he painted here two doors in the Casa di 
pn. 

The Boston (Mass.) Museum of Fine Arts has in storage two small 
painted doors showing the Saints, Rocco, Sebastian, Christopher and An- 
thony, all, according to Berenson, Peruzzian in character, which careful 
examination leads me to think are the ones referred to above. ‘They are 
owned by Professor Whittemore. 

There is a ceiling called Peruzzi’s (Pl. 52) of unknown but early date 
in the hospital of S. M. Della Scala opposite the Duomo, Siena, and in the 
church of this hospital his well known carved and painted organ front, which 
as it suggests the idea of the large windows in the Albergati palace, may have 
been done in 1522. Mr. Hill! however, says “about 1510” and gives no 
authority. ‘This still adorns the wall, is often photographed and a very 
successful treatment of a difficult subject, decorated in dull blue, gold and 
red, the latter sparingly used, and still one of the best organ designs extant. 
Mr. Hill credits him also with that in the Duomo (Pl. 53) and also that 
in the Palazzo Pubblico. Burckhardt says that the two Barili in 1511 
executed an organ case, in the Duomo, inspired by Peruzzi, which probably 
means that Peruzzi was its designer. “he organ in the Palazzo Pubblico, 
he adds, is by Antonio Pifferio, date 1519, but it has an air of simplicity 
which suggests at least Peruzzi’s restraining influence, although he was much, 
if not continually, in Rome at that period. 

A simple little chapel by Peruzzi (Pl. 54) stands just outside the Porta 
Camollia near which was the post-house where Cellini says he killed its 
master. It is praised by Bedford for its admirable use of brick, with a well 
designed corner in moulded brick and tile, also “stone capitals and corners 
to the pediment where cornice joins it”. “The small openings above the arch 
and other details seem rather early and lead me to date it about 1512. 

The Diavoli or ‘Turchi palace (Pl. 83), further out on the road from 
the Camollia gate, is attributed by many critics to Peruzzi. . The cornice 
of its chapel (credited also to Federighi) is in detail surely like that on 
Peruzzi’s Mocenni and Pollini palaces. ‘This chapel, at the end toward the 
town, is a beautiful piece of brick and terra cotta construction, with a fine 
frieze. On the way out to the Villa Santa Colomba beyond the Piano del 
Lago (or plain of the ancient lake) there is, on the opposite hill, a construc- 


1“Organ Cases’ by Arthur George Hill, F.S.A. London 1883. 


40 LIFEXAND WORKS OF 


tion which recalls in shape this tower and end of the Diavoli or Turchi 
palace, and invites exploration and study, for if Peruzzi designed the Diavoli 
he probably did this. Bedford also mentions a church tower with a top like 
that of the Carmine, between S. Colomba and Celsa villas which, he was 
convinced, Peruzzi designed. 

The Mocenni, or Francesconi palace (Pl. 55) in Via Cavour near the 
Lizza, built in 1520 for Bernardino Bellanti, is altered but still retains fine 
proportions and details, besides three paintings of the story of Jonah, which 
mark it plainly as Peruzzi’s and his plan for it is in the Uffizi. Romagnoli 
mentions the paintings herein, and also three in the house of a Signor Selvi, 
as Peruzzi’s. ‘The cornice of the Mocenni has terracotta details similar to 
those of the Pollini palace and Turchi chapel. He also probably designed 
the following: the court and an entrance and certain other doors of St. 
Catherine’s house (Pl. 56) of which the court columns are rather slender 
like his Fioresi palace, Bologna, and “like his early Roman. work’’; the house 
No. 24 Via Baldassare Peruzzi (Pl. 57) refined and effective even in its 
present unfinished state; also the cloister of San Martino (Pl. 58 and Pl. 20) 
of which the two studies for the church itself are now in the Uffizi; the 
marble seat in the Loggia di Mercanzi (Pl. 59). 

In descending Via S. Agata from the Piazza Giordano Bruno one comes 
abruptly upon the church of San Guiseppe, built by Peruzzi in 1522 to 
1531, with a front by Giovanelli. ‘This is a very picturesquely treated 
church (Pl. 60) which piles up imposingly above a valley on the outskirts 
of the city. The plan is in the form of a Greek cross, or a 36 ft. octagon with 
arms of moderate length, Peruzzi’s favorite plan, with a balcony outside 
between the arms of the cross where the view is finest. Lazzeri alone 
credits the building to Pietro Caetano, a scholar of Peruzzi’s, and to Bartho- 
lomeo Nerone and Maestro Riccio, with Baldassare Giusti as clerk of the 
works. 

Every architect will realize that Peruzzi could easily have designed ~ 
work for Siena while in Rome. It is hardly possible, nor was it necessary, 
to personally inspect every site until actual building began and sometimes 
not then. We know that many of the largest constructions were done from 
models, as at Carpi, and clients in those days of slow travel and communica- 
tion would hardly have expected that a design would always be made in 
the place where it was to be executed. 

Among neighboring villas, the interior of the Saracini, parts of the 
nore distant villas Santa Colomba (Pl. 61) and Celsa (PI. 62) are all 
considerably by Peruzzi. ‘To these must be added the villa of a Signor 
Lodole at S. Regina in the suburbs of Siena, near the Porta Pispina. It 
is impossible to give the exact dates of any of these. At Santa Colomba is a 
very well designed circular stone staircase by him, and the building, although 
clumsily altered, is in a free and gay vein. Here are evidently his designs 
in the front and in certain doorways, also in the narrow back court and 
rear garden wall. He used rusticated columns in the front of this villa 


Dee ean Ss aoe ee RAG Z: Zul AI 


suggesting those in the fresco, ““The Presentation in the Temple,” at S. M. 
Della Pace, Rome, and also roughly indicated in his Siena sketch book. ‘The 
romantic villa Celsa lies about eleven miles west of the Porta Camollia 
and a few miles beyond villa Santa Colomba and was the home of Mino 
Celsi—one of Luther’s champions—early in the XVI century. It is in part 
Gothic, but there are early Renaissance features of Peruzzian character in 
the exterior chapel (Pl. 46), in the front wall of the court (Pl. 45) and 
in the interior of the main building. Strikingly placed with beautiful views 
from the tall towers which guard its wedge-shaped court, it has recently 
been well restored by Prof. Mariani of Siena. 

The villa Vicobello too (Pl. 17) was built by Peruzzi for the Chigi 
family, and is well known to students for its charming architecture and 
lovely upper and lower gardens. Superbly situated on the hill opposite 
Siena it is a design of noticeably modern character in which Peruzzi relieved 
plain walls by flat panels. At the end of a garden walk on the same terrace 
as the house, is a famous wall niche,! and in the court a fine well top 
(Pl. 45). PP. della Valle speaks of a painting, Deeds of Moses, by Peruzzi 
in “Casino Chigi near the Osservanza”, which undoubtedly refers to this villa. 

When in 1522-3 he returned from his Bologna work to Siena, at the 
urgent request of the authorities, the master must have been very busy both 
in public and private capacity. It is logical to believe that besides private 
commissions he designed at once some portion of the fortifications of the 
city, since the necessity for their immediate improvement was what brought 
him back. In fact he built, according to some writers between 1523-27 and 
according to others between 1527-29, parts of the city walls, including seven 
towers or gateways, of which those called Camollia (Pl. 46), Pispina, Late- 
rina and San Prospero still remain. 

Siena many times saw her fortifications restored and increased but 
Peruzzi’s work impresses one more than that of any other engineer employed 
thereon. A huge, ingenious and imposing bastion outside the Porta Pispina 
is still called his, but far more impressive is the beautiful and stately 
Comollia gateway. 

At Viterbo, Della Valle credits him with doing considerable work, at 
some period not determined, including the church of San Giovanni Codetre- 
moli and other designs; Bedford and others speak of the Panteone di Pontre- 
moli as Peruzzi’s, and at the Ponte Tremoli (Bridge of the Three Mills) 
in Viterbo, there is now an octagonal baptistry to be seen, called Santa 
Elizabetta or S. M. della Peste (Pl. 63) which is strikingly in his manner 
and probably the building referred to by the above writers. “The external 
angle pilasters and the capitals with reeded channellings, the Latin motto 
of the frieze, the little cupola on top, are much like his work, but the interior 
mosaic of the floor is possibly an earlier relic which he incorporated. At 
neighboring Ferento (or Ferentum) he designed and, Vasari says, built, two 


“The Art of Garden Design in Italy’, Inigo Triggs. 


ee 4 ‘athe’ A Villas and Their Gardens’, Edith Wharton. 
ee 
“The Old Gardens of Italy”, Mrs. A. Le Blond. 


42 DEE E AND HORS. “OF 


villas for the Orsini “on the road to Viterbo” and planned other buildings 
“to be constructed in Apulia’. All the above were probably designed at 
intervals after 1510. His fine plan for Conte Pitigliano’s palace on the 
ruins of the Baths of Agrippa behind the Pantheon, Rome, was never executed 
(Pl. 64), but the Altemps palace, Rome, was largely his and the courtyard 
design as well as the exterior (Pl. 65) both reveal his hand. 


Weed yA PE Re 77 43 


CHAPTER VII 
ROME—FERRARA— I 523-27—SIENA—I 527-30 


It is quite likely that before the year 1524 Peruzzi was back in Rome, 
if the house there, in the Strada di Chiavari at the piazza dei Satiri, is 
properly ascribed to him as of the year 1523. It once belonged to the 
church of S. Carlo dei Catenari and was formerly the house of Cassiano del 
Pozzo, a noted antiquarian, friend and patron of Gaspard Poussin. ‘This 
house has a very well designed courtyard with some ancient bas-reliefs built 
into its walls, also a fine staircase, and was two stories high. It is shown 
in Percier et Fontaine’s, “Maisons et Palais de Rome”, and still better by 
Letarouilly, but has been altered and the front is now hard to identify. It 
was probably of the same date as the house, ‘Piccolo palazzo Altieri’ No. 
XI Via Delfini, where one finds on the right of the entrance driveway its 
tiny, but attractive Peruzzian court with a beautiful second story loggia 
on the left side thereof. “This has three arches on columns, and ceiling 
vaults finely decorated with arabesques of a Pompeliian character, now fading 
away. (See Letarouilly and also Griiner.)1 

In 1525 Peruzzi designed the simple casino at Salone on the road to 
Tivoli, about seven and a half miles from Rome. “This was for Cardinal 
Antonio Trivulzi, a good friend at court, who made peace for him with 
Pope Clement VII. after 1529, when Peruzzi had refused to help actively 
the Papal army besieging Florence. The casino is now a long red _ brick 
farmhouse, easily seen from the railway train, with a central arched door, 
and a loggia at one end, and still contains some frescoes possibly by Giov. 
Maria Falconetto, and Daniele da Volterra, a pupil of Peruzzi’s. 

‘This is all that remains of the design shown in his charming Uffizi 
sketch for a villa and an oval garden on the “fiume (river) Salone”, which 
if built as he designed it, including the delightful and original garden, per- 
golas, bowers, etc., must have been once very beautiful (Pl. 17). ‘The river 
has sadly diminished. 

In connection with this design it is to be noted that Vasari, in his life 
of “Daniello di Volterra,” says that Cardinal Trivulzi “conceived a great 
liking for Daniello (Ricciarelli di Volterra) whom he dispatched to one of 
his dwellings, a large building called the Salone or “Casale” which he had 
erected outside of Rome and which he was then causing to be decorated 
with stucco works, fountains and pictures by Giovanni di Milano and 
other artists, who were employed there at precisely that moment’. Here 
Daniello worked busily on large and small figures and ornament. 

After Baldassare returned from Bologna and Siena he designed a palace 


1*Kresco Tecorations etc. In Italy”. 


A4 LTS SA NSD SA eas a) ae 


on the piazza of the Farnese, and a Doric doorway in the palace of Fran- 
cesco da Norcia. 

It is hardly possible that his active mind was not otherwise employed 
during this time and probably a considerable number of those necessary but 
practically unknown and imglorious repairs which he made on St. Peter’s 
were continually in progress and took much of his time and strength. 

Just when he was in Ferrara cannot now be determined. Jacopo 
Melighino of Ferrara was a friend of his in Rome, and through him he 
may have received the commission to design the now unfinished Castelli, 
Sacrati or de’ Leoni (later the Prosperi) palace, and its famous marble 
doorway (PI. 18). While the latter lacks Peruzzi’s refinement in some 
ways it resembles the Boncompagni doorway at Bologna, and shows great 
originality and spirit. 

The entire palace and door, probably brought to their present state 
in 1527, are attributed to him by Lanzi, Della Valle and others. Venturi 
alone disputes this and ascribes the doorway design to Ercole Grandi of 

Ferrara. 

In 1527 came the terrible sack of Rome by the combined German and 
Spanish armies under the Constable de -Bourbon, whom, while wearing a 
white cloak, Benvenuto Cellini claims to have shot from the walls of the 
Castle of St. Angelo during the siege. ‘The sack is best described in Grimm’s 
“Life of Michel Angelo”, which tells in detail of both the brutal fanatic 
cruelty of the German Lutherans and the greater ferocity of the catholic 
Spaniards. Religious belief as usual restrained neither party; they called 
the Pope Anti-Christ and considered Rome a sink of iniquity and there- 
fore legitimate spoil. Peruzzi was made prisoner, lost all his property and, 
being taken for a high dignitary or a noble, was held for ransom. He 
however, obtained his release by painting the portrait of the dead Bourbon 
and by the Sienese: advancing the amount of the ransom. He escaped and 
took ship to Port’ Ercole where he may have taken notes of local conditions 
for the casemates which he designed later. Finally he reached Siena destitute, 
“clad only in his shirt”. What became of his “brother” Pietro we have no 
record. Disconsolate and impoverished Peruzzi met with immediate kind- 
ness at the hands of his fellow citizens, who must have not only relieved 
his immediate needs but replaced them with honors, for he was made ‘‘Archi- 
tetto del Pubblico” from 1527-9, receiving five scudi or crowns per month 
salary. 

The simplest, finest and most famous palace in Siena by Peruzzi is the 
Pollini, Pellinit (or Celsi) which is justly praised by critics as one of the 
best in Italy (Pl. 66-67). ‘This he probably designed in 1527-30, or earlier, 
as the battering wall of the basement and the torus mouldings follow the 
idea of his city walls and bastions done from 1523 to 1529. “The palace 
contains three interior ceiling frescoes: ‘The Continence of Scipio, with border 
design like those of his mosaics at $. Croce in Gerusalemme (Rome), The 
Adoration of the Magi, and the Story of Susanna and the Elders. ‘The 


pret A SSA RT ERE ZT 45 


rooms inside have vaulted ceilings in the main story indicated externally 
by the great height of wall above the tops of its windows. ‘This palace was 
once owned by the Celsa family, probably the same who owned the villa 
Celsa near Siena. Mr. Kilham (in Vol. III, Brickbuilder) shows that the 
basement wall slopes inward two feet in thirteen feet seven inches of height. 
It also runs effectively along to retain the raised garden at the left, at the 
rear of which are picturesque loggias. Entirely without an architectural 
order as it is, the use of an order could not have given this palace better 
proportions, better disposed solids and voids, or more generally logical treat- 
ment for its purpose. ‘There is a satisfaction in studying the entire building 
like that gained from the painting of a figure which reveals, altho’ draped, 
the painter’s full knowledge of proportion and anatomy. 

As soon as affairs became more settled he evidently returned to Rome 
for at least a short time, because in the ‘“‘Letters of Sebastiano del Piombo 
to Michel Angelo” published by Milanesi, we find that on the 28th of 
January, 1528, Sebastiano wrote to Michel Angelo as to the valuation of 
certain work which he had just done, “not trusting to myself I wished to . 
take the opinion of several others and above all of master Balthazar de 
-Sienne. I send you his estimate and counsel for he appears to me to be 
a good man and just’. 

Gaye in his “Carteggio” reprints a document showing that on Sep- 
tember 16th, 1528, Peruzzi bought the simple house, which is still in good 
condition, in Via Camollia, 48 (Pl. 57) “‘opposite the church (of S. Pietro) 
Magione’. ‘The purchase money was lent to him by the Brothers of San 
Domenico. On this house an incised marble tablet now reads as follows: 
(Translation ) 


risa @ sl 
WAS OWNED AND INHABITED 
BY BALDASSARE PERUZZI 
SIENESE PAINTER AND ARCHITECT 
CELEBRATED AND SINGULARLY UNFORTUNATE 
WHO BY SUBLIME WORKS 
LEFT IMMORTAL FAME 


It would be hard to compose in so few words a memorial more ex- 
pressive of the sympathy and homage of his fellow townsmen, or one more 
appropriate to his simple, straightforward character. 

The date of Peruzzi’s marriage to Lucrezia d’Antonio del Materasso 
is not known, but they had in all six children, two of whom were born 
after his escape from the horrors of the looting of Rome and it is reasonable 
to infer that he may have married at about the time he bought his house 
or shortly after, when his financial affairs began to improve. In all proba- 


46 LIFE CANDY OR LS OF 


bility this purchase and perhaps also his public work, brought him to Siena, 
inasmuch as his presence is proved by the records. If we accept most of’ 
the authorities as to dates he must have been constantly going and coming 
between his home and the Eternal City for the next few years. 

He painted his last mural picture in Siena proper in 1528, the famous, 
Sibyl Foretelling to the Emperor Augustus the Birth of Christ, in the church 
of Fontegiusta. This is a freely restored but impressive work of considerable 
beauty in which Michel Angelo’s influence is traced by some critics. Lanzi 
says of it, “the painter gave it so divine an enthusiasm that Raphael, as 
well as Guido and Guercino, treating the same subject never surpassed it.’ 
It is too well known to reproduce herein. 

A sketch for this is in Peruzzi’s sketchbook in the Siena Library while 
another (Pl. 68) (found by the writer) in the Metropolitan Museum, New 
York, from the Vanderbilt collection, was unknown to writers and is prob- 
ably a study for another painting of the same subject, mentioned by Della 
Valle as once being opposite the church of San Salvatore in Lauro, Rome. 

In Documenti per la Storia dell’ Arte Senese XVI. Secolo, (Siena, 
1854-6) reprinted by Gaetano Milanesi, it appears that a certain Girolamo 
d’Angelo Menichelli, a mason, ‘‘had lent” him (Peruzzi) 155 gold scudi 
to pay the balance of his debt for his ransom paid by Siena to Bourbon’s 
soldiers, and Peruzzi acknowledged the receipt thereof from him on Septem- 
ber 18, 1528. 

He soon became architecturally busy again in his native city, as the 
Sienese records of 1521-29 show, and designed in 1527-29 the oratory “della 
Selva”, for the Guild of the Weavers. 

In November, 1528, he was, as shown by his letters to the Signoria of 
Siena, busy at Bagno dei Vignoni near Orcia, estimating the cost of restor- 
ing the bridge near Orcia, “Ponte all’ Orcia”. He was also fortifying 
Asciano and was chosen the architect and selected the site for the building 
of the church of San Giovanni in Pantaneto di Siena, although Milanesi 
says that if Peruzzi made the design it was departed from later.1_ Ricci 
and Romagnoli believed Peruzzi designed the interior in 1528-31. It also 
was known as church of the ‘‘Concezione” (Conception), now Servi (PI. 
69). Milanesi believes possibly it was done by Venture di Ser Giuliano 
Turapilli, who died in 1522. It may possibly have been executed from 
Peruzzi’s designs by ‘Turapilli or others. A certain capital, however, sug- 
gests those in a courtyard at Santo Spirito in Sassia, Rome, done by him and 
in the Turchi chapel, Siena. It is claimed that the Servi was the inspira- 
tion for San Niccolé in Carpi. ° 

In 1529, according to Vasari, or 1524 according to others, he designed 
the tomb of Pope Adrian VI., in S. M. dell’ Anima, Rome, by the orders 
of Cardinal Enckenviort (or Enckevort). It was executed by the Sienese 
sculptor Michel Angelo assisted by Tribolo who did the allegorical figures, 


ees Gaye also, ‘‘Carteggio Inedito, etc., 1839-40’? for his appointment as architect for this 
church, 


Hee. Dae ord EOP eRe 1 47 


and by Peruzzi. ‘The latter also did the paintings around it, of the Saints 
Bennone and Antonio canonized by Adrian, and designed the three doorways 
of this church. As Peruzzi was also at Poggibonsi this year, 1529, Vasari 
may be in error as to the exact date; 1524 seems more likely and the tomb 
was really finished before 1529, because in a document dated July 29, 1529 
Peruzzi appoints his old friend Pietro d’Andrea da Volterra, ‘‘Sienese 

painter’, his attorney to recover from Cardinal Tortose Enckenviort the 
balance of the cost or contract for the tomb, nine gold scudi. Tribolo, the 
assistant on this work, was he who traveled with Cellini to Venice only to 
find that Sansovino put off employing him, for which Cellini says he rebuked 
Sansovino at his own table. 

On the 23rd of February, 1529, Peruzzi’s appointment as architect 
of the Sienese Republic was confirmed for the coming year. On the 8th 
of March he was busy with the fortifying of Chiusi, which his sketch No. 617 
in the Uffizi shows, and on the roth day of July he was first made Capo- 
maestro of the Duomo at Siena. On September 2cth he praised Bazzi’s 
work in the Palace of the Signoria. By the 22nd of September he was 
engaged in the war against Florence, and before the walls of that city, 
probably as a military engineer, although Vasari says that he displeased 
the Pope by not being willing to aid in the attack. On the 20th of October, 
1529, he reports to the Signoria at Siena from Poggibonsi that it would 
be easy for Papal troops to take possession of Poggio Imperiale and to occupy 
and garrison the whole of Valle d’Elsa. In this year he probably finished 
fortifying Siena and designed the repairing of the walls of orrita near 
Montepulciano. 

The late W. P. P. Longfellow wrote with great enthusiasm in the 
November issue of Vol. VI of The Brickbuilder, praising, as follows, 
Peruzzi’s tower of the Carmine church (Pl. 70) opposite the Pollini palace, 
built about 1531: “It is for all its simplicity one of the finest of the Renais- 
sance campanili, as it is one of the earliest, and bears such marks of Peruzzi’s 
peculiar command of fine proportion in all details as well as in masses, that 
it would be difficult not to accept the tradition which ascribes it to him. I 
know of no other piece of brick detail in Siena which can be classed with it. 
Every detail is in brick, there is not a line or scrap of stone or terra cotta 
in the whole. Even of moulded bricks the forms are few, very simple and 
very sparingly used. * * * Al desirable detail is here; the proportion 
is so finely adjusted, the relief so delicate and yet so firm, the emphasis so 
well bestowed, that the tower has the effect of a finely treated design in 
wrought stone and an air of elegance which it is very rare to find in pure 
brick work, etc. * * * of its type there is none better’. Ricci thinks 
the Carmine tower not Peruzzi’s on account of the style, but other critics, 
the sketch in the Uffizi, and the detail proclaim it his. Lazzeri gives the 
name of the builder as Maestro Domenico Ponsi. 

Peruzzi also designed the church and its cloisters (Pl. 71). In the 


48 LP EE GANGD WA Grek Sh Oe 


sacristy a wonderfully modelled bronze Christ on the cross, which the cus- 
todian shows as Peruzzi’s, will bear comparison with Cellini’s work in 
modelling and expression. On his Uffizi sketch, for the Carmine—only a 
rough study—is written, in Peruzzi’s handwriting, “Jo Baldassare putio 
(Peruzzi) archittetore e pittore fo. (made it) piena e indubitata fede come 


gia piu sono. XI Oct. MDXXAXI’, a notation showing his authorship. 


BULDASSARE PERUZZI 49 


CHAPAUERMV LT 
ROME—1 5 30-I—SIENA— 153 1-2— RoME-—1 532-6 


Rome appreciatively claimed his services once more when Pope Clement 
awoke to the necessity of pushing the long neglected work on St. Peter’s and 
appointed him to take charge of the construction from 1530 to 1531. At 
this time he had the unusual honor of holding simultaneously the three offices 
of Architect-in-Chief of St. Peter’s and at Siena, Capomaestro of the Duomo, 
and Civic Architect. 

After having made a design for the great palace or “Rocca”, at Capra- 
rola, northwest of Rome near Viterbo, he is known to have been at work 
during 1530 on the actual construction of the building (Pl. 72) which he 
had then built up to the ground floor. ‘That he was, as Milanesi says, its 
author, seems well borne out by his studies now in the Uffizi, which consist 
of pentagonal plans for it. Among these is a small section of “Profilo dela 
Podra (country house) di Caprarola”’ on the same sheet as a sketch plan, 
and a note in his handwriting which reads, (translation) “Silvestro da 
Caprarola received 16 julii (name of coin) from me Baldassare Architect 
of Siena to purchase for me so much linen cloth; he did not buy it nor is 
he returning to me the money.” 

One sketch plan shows a pentagonal building, marked ‘180’ on one 
side, and the section shows two stories with vaults below, a large hall, and 
in front a loggia, all under the same roof. Also in the Court library at 
Vienna there is by him an extremely interesting rectangular plan for Capra- 
rola, probably one of his early studies.! Besides these there are in the Siena 
sketch-book his sketches of stairs in pentagonal bastions, such as exist at 
Caprarola, which also prove that Sanmicheli was not the first to use the 
pentagonal bastion as has been asserted. “The pentagonal plan of Caprarola 
like a huge bastioned castello is very suggestive of Peruzzi’s talent as a 
military engineer. Other sketches in the Uffizi show his experiments in 
planning villas of square shape (Pl. 72) with loggias and the wall lines of 
bastion towers at each corner slanting in toward the center of each side of 
the building. “These were evidently suggested by the plans of his military 
bastions, and may be early studies for Caprarola or may have led to its final 
design by him. His authorship of Caprarola now seems to be beyond ques- 
tion and Peruzzi shares the credit for this interesting and palatial country 
house with Antonio Sangallo the Younger and Vignola who carried on 
and completed it. Vignola designed the “palazzino” or casino of this estate. 

In 1531 he planned the casemates of Port ’Ercole, and also invented 
a new way of stamping money. ‘This same years he went to the Maremma 


1“Entwurfe Baldassare Peruzzi’s’’ etc. (1902) Hermann Egger. 


50 ELIF EVAN DAG ORES <OF 


to survey its fortified hill towns, with a view to their re-fortification, and 
also visited Siena. On October 28, 1531, certain citizens of that city who 
knew that he was insufficiently paid, petitioned the General Council to in- 
crease his salary on account of the great value of his services and accordingly 
the amount was doubled. 

He designed the main bronze doors and made a sketch and a model 
for the high altar of the Duomo. A bull dated May 21, 1532, was issued 
by Cardinal A. Spinola allowing Peruzzi to remove certain marbles from 
Rome to Siena for the altar construction. ‘This was undoubtedly when he 
changed the position of the altar from its original position under the cross- 
ing and decorated the pilasters of the apse, which are so Roman yet Bolognese 
in their character as to recall those of the apse of San Michele in Bosco, 
Bologna. A sketch for the apse of the Duomo at Siena, is now in the Alber- 
tina in Vienna,! and that for the altar is in the Royal Palace, Turin (Pl. 73). 

In 1532 Peruzzi was again appointed Capomaestro of the Duomo, at 
a yearly salary of 30 scudi, or crowns, and on July 16 he orders Niccolo 
Cecchini treasurer of the Marsiliana to make a payment to Galgano Fondi 
attorney of the Brothers of San Domenico, who had advanced the money 
for the first payment on his house, and on October 12th the Sienese Republic 
voted him the rents of the Marsiliana, 240 scudi annually, for eleven years. 
This year too, he built the bridge at Buonconvento, southeast of Siena. On 
October 5th, 1533 his friend Girolomo Angelo Menichelli, the mason, 
acknowledges the receipt from Peruzzi of 50 scudi in part payment of his 
loan. Surely the balance was paid later. On May 15, 1534, there is a 
record of 882 lire, paid for mixed stone ordered from Rome and for the 
inspection of same by Peruzzi. In the Duomo he is also credited with 
designing the steps and their balustrade to the pulpit by Pisano which were 
executed by Bernardino di Giacomo in 1543, and are by some critics attributed 
to Peruzzi’s follower Riccio. 

In 1534 Pope Clement VII. died and was succeeded by Paul III., 
Alessandro Farnese, duting whose pontificate, ending in 1550, Peruzzi, A. 
Sangallo the Younger, and many other famous artists did their last works. 

Sometime after the death of Antonio Sangallo the Elder, in 1534, 
Peruzzi finished for him the Contucci Palace (Pl. 83) in Montepulciano, 
adding the top story at least. He also built there the little house Via Cavour 
No. 27 and a dwelling Via Ricci, No. 9, dates unknown 

~The Belcaro villa (Pl. 74-5-6) built between 1532 and 1535, was his 
last architectural work near Siena before his final return to Rome. Belcaro, 
originally a mediaeval fortress, stands on the top of a hill. Dense ilex 
trees grow about it now, their tops level with the ancient ramparts. Around 
the paved top of these one can walk behind the parapet and look down 
on the court and the small garden to study the formal but pleasing exterior 
of the casino. ‘This or its prototype and court, chapel and loggia Peruzzi 


1Stegmann and Von Geymiller ‘Die Architaktur der Renaissance in Toscana’’. 


Bae DASSARE PERUZZI 51 


planned in the Gothic stronghold for the Turamini family and so very 
harmoniously is it all accomplished, although done in a Renaissance style, 
that it is hardly to be criticised. His plan in the Uffizi, possibly a first 
study, differs a little from that of the present villa, or casino, and its court- 
yard, and Frizzoni states that the interior of the dwelling and the wall 
separating the court from the garden are the architectural works by Peruzzi 
now remaining. 

Belcaro belonged to the Savini family in the XVI. century, and in 
1377 in a dilapidated condition it was given by Nanni di Ser Savini to St. 
Catherine of Siena who made it into a convent “of religious women who shall 
continually pray for the city and inhabitants of Siena”. She called it “Santa 
Maria degli Angeli” and wrote some of her letters from there. After this 
the Bellanti owned it as a fortress, but in 1525 the wealthy bankers ‘Turamini 
bought it, and Peruzzi later, besides designing for them the courtyard, casino, 
loggia and chapel, frescoed the latter three. In 1554 Belcaro was again 
a fortress and was won by Gian Giacomo de’ Medici, the last of the con-. 
dottieri and Commander of the allied forces of Charles V. and Cosimo I. 
This was the end of the Siena Republic. Belcaro was later called the villa 
Camaiori. 

_ Peruzzi’s fine fresco The Judgment of Paris (Pl. 74) is painted on 
the entrance hall ceiling in the casino and the garden loggia contains his 
badly restored, but effective frescoes of amorous, classical subjects, in trellises 
with birds, etc. (Pl. 76), while the chapel has paintings of a religious char- 
acter. Altogether one gains here a new insight into his great powers as 
a decorative painter. Leader Scott! says of Peruzzi’s frescoes in general— 
probably meaning the larger figure compositions—‘‘as one never sees a Fra 
Angelico without his ethereal blue, so Peruzzi never paints a picture without 
at least one sea-green robe; it is the peculiar coolness of this tint and his 
taste in toning down all his other colors to agree with it, which gives a 
peculiar airy charm to his coloring’. She also calls him ‘‘perhaps the finest 
decorative painter of his age”. The interior of the Villa Saracini and the 
frescoes at Belcaro show how closely Peruzzi’s work was connected in 
manner and quality with that of Giovanni da Udine, and possibly they 
worked together even more than is recorded. 

‘The last decoration he did here at Belcaro and probably his last mural 
painting anywhere, is the Turamini coat-of-arms in the chapel, consisting 
of a half moon and star surrounded by cherubs and dated 1535, for in 
March 1535 he returned to Rome, where he remained for the rest of his life. 

The Ossoli palace at the corner of Vicolo dei Balestrari and Piazza 
Spada in Rome is credited by Geymiiller to Peruzzi, as not much earlier in 
style than the Massimi palace, and by Letarouilly as of the year 1525. It 
should be seen first at a distance through the Vicolo dei Balestrari with the 
afternoon sun on its front in order to appreciate both its strength and refine- 
ment. ‘The projections and reveals are ample, the mouldings vigorous but 


1 Leader Scott (Mrs. Lucy E. B. Baxter) in ‘‘The Renaissance of Art in Italy”. 


52 EE EAN Dy OAS SOP 


not coarse. It is undeniably by the man that designed the Farnesina and 
the Massimi, and is moreover a building which even a careless observer will 
notice. The fine antique fragment set, in Peruzzi’s manner, over the door- 
way (Pl. 15-16) is the only one remaining of several which he built into 
the front. There were originally others placed between the basement win- 
dows to mask them. 

He must have designed the Massimi palace sometime after 1532. It 
was his masterpiece, “the last original work of the Renaissance in Rome” 
as Gnoli says in “Have Roma’, and to many the most perfect dwelling 
of the period. The sack of Rome had destroyed among other buildings the 
old Pietro de’ Massimi dwelling on the Via San Pantaleo. Here in 1435 
had been set up by Pannartz and Schweinheim, nomadic Germans, one of 
the first printing presses in Rome from which came early editions of the 
classics. "Che head of the family, Domenico Massimo died after the sack 
of the city and left his estate to three sons, Pietro, Angelo and Luca. Pietro 
and Angelo were desirous of building again on the old site, but Luca 
planned to build across the way, as the Uffizi plan shows. ‘The family 
claim descent from Fabius Maximus ‘‘Cunctator”’, who wore out Hannibal 
by his delaying policy, their motto being “Cunctando Restituit’” and the 
family name included ‘‘del Portico” and later “alle Colonne”’. This pedigree, 
as stated by Mrs. T. B. Batcheller! who is acquainted with the present 
family, was traced by the tombstone of Leone Massimo, dated April 23, 
1012, found on the Aventine Hill, and it is said that since then there have 
been twenty-seven direct generations. “The new palace of Pietro was to 
be so designed as to reproduce suggestively the house of an ancient Roman 
patrician, and “del Portico” and “alle Colonne’” were to be incorporated 
for the two brothers, in the exterior design. “Today we know from Pompeii 
and other sources what such a plan should be: like, but aside from the rules 
of Vitruvius and possibly some ruins not known to us today, Peruzzi had. 
little upon which to base his design. In spite of this, however, his first 
study in the Uffizi shows the clever planner. ‘The final plan (Pl. 77) 
following the curve of the street was, however, a decided improvement upon 
the first. This house of the elder brother Pietro is the better of the two, 
for in its facade (Pl. 78), sixty-seven feet high, is properly embodied 
both the “portico” and the “columns”, and no front could better grace the 
narrow curving street, a view of the upper stories being then hardly possible. 
Now, however, the street is wider and a richer. treatment of the upper stories 
might suggest itself. “The materials of the building are porous travertine 
in general, with light grey columns, etc., in the courtyard, while much of 
the smaller ornament is in very hard stucco. 

Letarouilly, Suys & Haudebourt, Anderson and others, have well repro- 
duced the beauty of the plan, elevation and interior details, although Leta- 
rouilly sometimes overlooks the finer but essential characteristics of Peruzzi’s 


“Glimpses of Italian Court Life’, Doubleday, Page & Co. New York, 1907. 


Bere Ss ARE PERU LZ ZI 53 


mouldings, as is carefully noted by Mr. John Scarff in the Journal of 
Avie. tor June 1914. 

This palace is one of the highest expressions of man’s ability to utilize 
architecturally a given space and materials. It is Greek in its refinement 
and yet not architecturally Greek, but antiquity living again, in a modern 
form,! no lifeless copy of earlier art, but a house in which a modern could 
appropriately and enjoyably live. Indeed its modernity is remarkable. 
Peruzzi saw exactly what the more cultivated man of the Renaissance 
properly required as a dwelling and even what future men would require. 
Today we cannot improve upon the great sense of privacy, security, hos- 
pitality, and elegance expressed in this house, marking a distinct departure 
from the mediaeval dwelling surrounded by dangers from without; a condi- 
tion so perfectly expressed before this in the castles and towers of mediaeval 
Italy. 

A description of the fine interior need not be given here, but one feature 
not before explained must be mentioned. ‘The loggias off the court are 
lighted by perforations at the outer sides of their vaulted ceilings, an arrange- 
ment which some critics condemn, but it shows Peruzzi’s independence in 
perforating the space of the frieze in the court for light in the loggias and 
rooms. A precedent for this is given by Mantegna in his painting of the 
Baptism of Hermogenes in the Eremitami, Padua. Mantegna also was a 
great student of ancient design, who undoubtedly had found classic precedent 
for perforations in such a location and they are logically correct. 

Nowhere else has Peruzzi left such an illustration of what the Renais- 
sance meant, what it could attain in the hands of a master unless it is the 
beautiful Pollini palace in Siena. Bramante, trained in knowledge of the 
antique, a classicist of undoubted depth and thoroughness, never gave the 
world a building of greater originality and life. His works indisputably 
will always make a logical and powerful appeal to the architect and the 
scholar, but Peruzzi interests the antiquarian, the humanist, the architect, 
and everyone who believes that architecture must advance by the artist’s 
personal adaptation of it to modern conditions. “The great lesson he teaches 
here and in general is that the artist, artisan and every man, should put his 
personality into his work by showing not how much he knows, but how 
well he can use his knowledge to produce new beauty, new harmony, new 
dignity. 

The adjoining palace originally of Angelo Massimo forms part of the 
Massimi building. While revealing an equal simplicity and excellence of 
arrangement it does not possess the great beauty of Pietro’s house. Yet 
facade, interior details, and plan are well worth close study for their reserve 
and refinement. 

The relative heights of the tops of the ground floor windows of Angelo’s 
palace and that of its main entrance door are very interesting, especially 


1 See Donaldson’s ‘‘Doorways’”’ etc. London, 1833. 


54 DLE EGAN DAWG RES EE 


because in Siena, at No. 24 Via Baldassare Peruzzi, we find practically the 
same slanting lines making a slightly pyramidal composition of the tops of 
the openings, which as Dr. Frey of Vienna once pointed out to the writer, 
seems to remove any possible doubts as to Peruzzi having designed both 
buildings, although he died before either was finished. 

At the present day the Prince Carlo Massimo family annually open 
their palace (of Pietro) to the public one day, in recognition of the miracle 
said to have been wrought by Saint Filippo Neri, the family priest, in 
resuscitating Paolo, the son of Prince Fabrizio Massimo in 1583, although 
the boy died shortly afterward. 

Each year therefore on March 16th, hundreds of people of all conditions 
and kinds, rub elbows up the stairs of this palace, passing all day long 
through the beautiful courts, loggias and rooms to see the relics and the 
little chapel into which the sun pours morning and afternoon through win- 
dows high up on each side. Such an interest is shown only where people 
are attracted by their surroundings, and here, I believe, the greatest factor 
is the indefinable but intense charm of Peruzzi’s architecture and the deco- 
rations. 

There is in the opinion of the writer, no one building of the Renaissance 
which can so fully instruct a student in the highest expression of his art. 
The other house for Luca, across the street was never begun. 

In LeMonnier’s and in Milanesi’s edition of Vasari and in Letarouilly 
we find that the church of Santo Spirito in Sassia, Rome, built 1534 is also 
Peruzzi’s plan and not San Gallo’s. 

In 1535 Paul III. made Peruzzi again architect of St. Peter’s, but he 
probably had done little if any important work before fatal sickness attacked 
him. 

The Pope heard of Peruzzi’s severe illness, caused, it was suspected, 
by poison administered by a jealous rival. He sent to him by Jacopo Melighi 
or Melighino, the accountant of St. Peter’s, a kind message and a present 
of 100 scudi, and it was too late to restore his strength, and early in 
January 1536 the light of this noble life went out under a cloud of appre- 
hension for the future of his family whom he left with little means of 
support. Vasari states this, and comments on the ungratefulness of his 
clients. “The date of his death is given both by Fea and Milanesi as the 
6th of January, 1536, although Vasari states that the inscription on the 
tomb was dated January 4th. ‘The suspicion of poison was never substan- 
tiated yet may have been true. He was the last of the really great Sienese 
painters and architects. With all his undisputed talent, his hard work and 
his fame, Peruzzi’s life was a constant struggle against poverty, disappoint- 
ing conditions in the non-completion of his designs, and injustice in the 
lack of adequate reward for his excellent and conscientious work, His 
plucky career helped bring about, and extended through, the highest phase 
of the Renaissance and his lifetime saw nine Popes on the Papal throne, 


PAN OMeS ARE PH RGAZ SL 55 


but if there is such a thing as ill-luck, it certainly attended this great inter- 
preter of Renaissance life and ideals. 

Yet after all, as we have seen, he was not without great honor in his 
own city of Siena, modest as the pecuniary returns certainly were, and it 
was largely due to his Roman practice that, as Rosini affirms, in “Storia 
della Pittura Italiana’, he was consulted as “the oracle” in architecture. 

Vasari writes of his funeral as follows: “He was deeply mourned by 
his friends and children who laid him to rest in the Rotonda (Pantheon) 
near Raffaello da Urbino; all the painters, sculptors and architects of Rome 
accompanied him with tears to the grave, according to his remains the most 
honorable sepulture and inscribing over them the following epitaph” (which 
Bottari states was not in the Pantheon in his time): (Translation) — 


“TO BALDASSARE PERUZZI OF SIENA, A MAN SO EXCEL- 
LENT IN PAINTING AND ARCHITECTURE AND OTHER 
ARTS OF GENIUS THAT HAD HE DIED IN ANCIENT TIMES. 
OURS WOULD DISTINGUISH HIM MORE HAPPILY. HE 
LIVED FIFTY-FIVE YEARS, ELEVEN MONTHS AND TWENTY 
DAYS. LUCRETIA AND GIOVANNI SALLUSTIO TO THE 
BEST HUSBAND AND PARENT, WITH THE TEARS OF 
SIMONE, ONORIO, CLAUDIO, EMILIA AND SULPIZIA THE 
YOUNGER CHILDREN, GRIEVING HAVE PLACED THIS 
MEMORIAL THE FOURTH OF JANUARY 1536.” 


“The fame of Beldassare was greater after his death than during his 
life; more particularly were his judgment and knowledge vainly desired 
when Pope Paul III. determined to cause the church of San Pietro to be 
completed, seeing that all then discovered how useful his assistance would 
have been to Antonio da San Gallo”. Not many years after his death, 
Serlio, in the introduction of his Book IV. of Architecture, declared: ‘For 
all you will find here to please you, do not give praise to me but give it 
to my predecessor Baldassare Peruzzi who was not only very learned in 
this art, but was also courteous as well as liberal in directing those who 
were interested, especially me, which recounts to his benignity”. He also 
commended his sound taste, facility and elegance. 

Among others who have praised him, Lomazzo wrote, he was “Archi- 
tetto Universale’; Milanesi called him, “This most excellent master”; Lanzi 
said that he is to be ranked higher than Bramante; Eugene Miintz, in his 
“History of Art During the Renaissance” says, “In this race, always borne 
toward fineness rather than toward force, architecture took on more and 
more purity, tendencies which * * * found their highest expression in 
the Sienese, Balthazar Peruzzi, pre-eminent harmonist in the matter of 
architecture”. D. Gnoli states that he was “perhaps the most perfect archi- 
tect of the Renaissance”, and Sir Reginald Blonifield unreservedly terms him 
“the greatest architect” of that productive period. 

There are extant at present the following portraits of him: 


56 ET PE DAN DIGG ORS Os 


The likeness which appears in the wood cuts of the various editions 
of Vasari’s “‘Lives’’. 

The pen and ink sketch which he drew on the margin of his Sketch 
Book in the Public Library of Siena (‘Title page, Pl. B) like the above. 

His drawing in red chalk on the side of a sepia design of the Marriage 
of Rebecca (244 Bis. Uffizi Collection). 

The bust by Giovanni Dupré (1853) in the Art Gallery at Siena 
CPI S6)% 

Variations of the likeness of Vasari’s ‘“‘Lives’, in Suys and Haudebourt’s 
“Palais Massimi”’, and Percier and Fontaine’s ‘‘Palais et Maisons de Rome”. 

The likeness in “The Expulsion of Heliodrus (Vatican) where Mrs. 
Ady! believes with Morelli? that Peruzzi is painted standing opposite and 
at the left of Raimondi, both acting as litter bearers to Pope Julius II. 

Copper-plate engraving by Dieu and Thierry, etc., exhibited in Paris, 
June 1889, at Ecole des Beaux Arts, ‘Exhibition of Portraits of Architects”. 

Copper-plate engraving in Bullart’s “Academie des Arts et Sciences, 
1682”. 

In Dreux and Raider’s ““L’ Europe Illustre’’. 

Lithograph in British Museum signed “Jeanron del Bouquet sc”. 

Sketch by Peruzzi of himself, No. 438 in the Uffizi Collection, by 
which Morelli established the likeness referred to above. 

Oil painting of himself from Professor Elia Volpi’s collection (Frontis- 
piece, Pl. A). 

Small head in An Allegory of Mercury, by Peruzzi, now in the Louvre. 

It is noticeable that the marginal pen and ink drawing of a head in 
Peruzzi’s sketch-book in Siena, is strangely like the head of Simone Memmi 
which Vasari gives in the life of that earlier artist, but it is also like Peruzzi. 
Memmi’s head may be an imaginary one based upon this drawing by Peruzzi, 
possibly for Vasari, from a source now unknown. 


1In, “Raphael in Rome’, E. P. Dutton & Co., New York, 1907. 
2L’Archivio dell’Arte Italiana, Series II—Vol. II, 1896, p. 397. 


Pi ASS ARE PRR OLLI 57 


CHAPTER IX 


REVIEW OF PERUZZIS QUALITIES AND METHODS 
Nectect or His Tomsp—Sicnor GNOLI’s SUGGESTION 


INCREASE OF His FAME 


Peruzzi’s remarkable, if not greatest gift, was the strong sense of pro- 
portion or scale manifest in almost all his work, due to what we term “a 
correct eye’. So noticeable is this that it is constantly alluded to by those 
who have studied his sketches and executed designs. While undoubtedly . 
improved by familiarity with the antique, it could not have come from that 
alone, for his early work also shows that in this quality he stands far above 
his contemporaries. Architects recognize it as one of the rarest gifts, and 
while other men have possessed, no one has ever more constantly or appre- 
ciatively used it. With him it was second nature and attracts attention 
to his buildings before one is aware of the compelling cause. 

~ Next comes his full appreciation of the value of plain wall surfaces, 
or solids, as elements of relief and strength in contrast with the voids of 
- openings. Famous architects have failed to grasp this principle or wilfully 
neglected it for other effects to catch the eye; indeed many seem to have 
feared to leave a plain surface anywhere. 

The simplicity and directness of Peruzzi’s compositions appeal power- 
fully to eyes tired of the modern confusion of too many features. His mould- 
ings are well designed and in the proper place, but he neither crowded them 
nor neglected their scale, and this suggests another quality in his works, an 
often noticed and almost Greek character of refinement. Whence did he 
derive this? Certainly not, as far as we know, by extended travel outside 
of Italy, although he apparently visited Northern Africa and may have seen 
parts of Sicily. It must have been that his acute powers of observation and 
absorption recognized and appreciated the refinement in the best architecture 
and sculpture of ancient Greece and Rome, and of those many cities of 
Italy which we know he visited. 

His originality and inventiveness, present themselves constantly. Where 
others followed Peruzzi soon led, where many repeated he invented, but 
so in the ancient vein as to bring constantly before us the evidence that he 
did not depart from rule through ignorance, but from the exact knowledge 
that thus the highest ancient art would have met new requirements. 

In the use of “terretta” and sgraffto” he led the way and now we are 
reviving it crudely in America, although on exteriors it is not suitable for 
our climate. 

What a boon to the drama was the movable scenery and the machinery 


58 LIF EVAN Deg O-RvC8 OF 


for moving it which he invented for Bibbiena’s “Calandra” as already men- 
tioned, and from what monotony did he thus relieve the modern stage! All 
actors and audiences owe him praise for this. 

We know that Michel Angelo must have approved of the departure 
shown in Peruzzi’s employment of a bold cornice on the Farnesina, unlike 
the earlier feeble ones of the Rucellai palace in Florence and the Can- 
celleria, Rome, which expose the walls to comparatively unrelieved sun- 
light, for the great Florentine made an even bolder and heavier feature of 
the cornice which he placed on the Farnese palace after Antonio da Sangallo 
the Younger’s death in 1546. 

Peruzzi revived from antiquity the Greek sloping jambs of doorways, the 
opening decreasing in width toward the top, which when properly designed, 
is most graceful and good construction; the use of battering or sloping base- 
ment walls is his, as applied to domestic architecture; and we may yet discover 
that he used the curved line both in plan and elevation as did the ancients. 
He invented the introduction of small windows with intermediate ornament 
in the frieze; he was if not the first, yet among the earliest of the Renais- 
sance artists to adopt the placing of semi-reclining figures in spandrels and 
children on capitals. Projecting instead of sunken panels, at Siena on the - 
Carmine tower and on the little chapel outside the Porta Camollia and strap- 
work forming panels on the facades of Vicobello, and other villas, are 
further proofs of his versatility. In such things there is a record of orig- 
inality equalled by few of his contemporaries. 

Peruzzi never misplaced ornament. He knew what to use and where to 
place it and appreciated too the value of contrasting it with plain surfaces, 
while he has left several examples of his ability to design an interesting 
building with little or no enrichment. Herein, as in his use of stucco and 
brick, he was in no way inferior to Palladio or others whose inexpensive 
methods often have been extolled, but never in Peruzzi’s work, as in that 
of some other men, is the result cheap and unsubstantial. 

He was called the most elegant painter among the architects and the 
most ingenious architect among the painters. Of his talent for portraiture 
we can judge very favorably from the painting of Bindo Altoviti now in 
the Munich Gallery; of Alberto Pio in the Mond Collection; of himself 
(Frontispiece) and from the excellent heads of donors in his pictures else- 
where. He was also a most accomplished designer of pageants; deeply inter- 
ested in astrology, and one of the greatest of perspective draughtsmen, accord- 
ing to Milizia, having been credited with the invention of “points of dis- 
tance’ says Larouse, by which is possibly meant vanishing points, and accord- 
ing to Vasari he was exceedingly skilled in the use of grotesques of great 
elegance. His paintings of sacrifices, bacchanalian and battle scenes are exe- 
cuted with an enthusiastic spirit rarely equalled, as in his battle detail on 
the front for San Petronio (PI. 44). His frescoes place him, in spite of 
certain mannerisms, in the front rank of draughtsmen and colorists, but be- 
sides this his superb ceilings, decorations and friezes show a strong grasp 


Bea OaS Ss ARE PRR ZZ I 59 


of the principles of mural decoration revealed not merely in the use of 
architectural ornament which is its most important accessory, but in the 
grouping of figures, in color and in general composition. Indeed the late 
Professor Anderson who greatly admired his works, says: “The Sistine chapel 
is justified by its success but the golden mean of a union of truthful archi- 
tecture and appropriate decoration is attained with happier results in the 
interior of the Villa Farnesina and the Palazzo Massimi alle Colonne’’. 

Mr. Berenson says in the Gazette des Beaux Arts, March 1896: “In 
his youth Peruzzi, inspired by the exquisite simplicity of the Umbrians and 
the decorative feeling of the Sienese school, is a charming painter. It is in 
just this phase of his art that we see him represented by two panels belonging 
to Mrs. Gardner (Boston), each of which has for its subject a young warrior 
(of the Medici family), with landscape. The figures, attitudes, armor, orna- 
ments, all recall Peruzzi as we know him in his early paintings, in the deco- 
rations for the Stanza of Heliodorus in the Vatican and in certain other 
little known works, as for instance in an altar picture with the Virgin, the 
Donor, Saint Sebastian and Saint James, in the villa Albani at Rome, and 
attributed to Signorelli. 

“A companion piece to these two figures is in the museums at Tours; it 
represents a young warrior armed with a hatchet’. 

A volume could be written on his talent for all this work, but here it 
is enough to say that his knowledge of painting must have helped immensely 
in his architectural work, especially in the selection of materials with refer- 
ence to texture, color and composition. “That he knew also the full value 
of rich materials and how to treat them is assured by his superb high altar 
at Siena, but in general he used from necessity the simplest mediums and 
did not disdain stucco when he had to accept it, a hint which he probably 
got from its ancient use, and from Giovanni da Udine, who is said to have 
rediscovered a way to make it enduring. 

In the use of brick and terra cotta he is an unrivalled master, seeming 
to feel their great possibilities and limitations, but in all materials he never 
tried to go beyond the logical limit. 

In the stone and marble work of his day the jointing was done much as 
it is now; emphasis was obtained by dressing and by a careful study of the 
scale of stone and marble blocks for each building. San Gallo and later 
men have run the gamut of effects in alternating low and high courses of 
stone, in making some with rounded edges, and margin drafts, and others 
with vermicular patterns, but Peruzzi seldom if ever strayed far afield in 
such experiments. 

Sansovino, Sanmicheli, Vignola, and later Palladio, profited much from 
him, indeed the first two, Anderson states, had their definite ‘Peruzzi man- 
ner’ and his influence, we know, was considerable upon others. 

Of his numerous engineering designs, including irrigation projects, forti- - 
fications and bastions, and his inventions of machinery mills, a “‘pestio” or 


60 DLE Feet N Dew AOLR fe Te 


“Catorcio” with secret letters, a screw press and hosts of others, the Uffizi 
has many, showing great versatility and a broad range of interests. 

Anderson says, quoting from a French writer, ‘““By common consent he 
was placed at the head of such men as San Gallo, Michel Angelo and 
Raphael, because of his genius and talents, and the degree to which he con- 
tributed to the glory of the age; but the modesty of his character and his 
lack of ambition has robbed him of these honors, and his merits, appreciated 
alone by artists, repose almost without fame”. Yet it is true that a man 
who so constantly worked and studied possessed ambition of the finest kind. 

Of Peruzzi’s several pupils and followers, one of the most noted was 
Sebastiano Serlio, of Bologna, an architect of considerable talent. He was 
born in Bologna in 1475, and spent the years from 1511-14 in Pesaro, going 
then to Rome, and afterward to Venice where he was busy on the Palazzo 
Zeno and designed in 1534 the church of San Francesco della Vigna and 
the Palazzo Bembo (now Correr). He went also to Pola, Dalmatia to study 
its Roman remains. While in Venice he was favorably known and attracted 
the attention of the Doge Andrea Grilli. Later he studied the antiquities 
of Ancona, Spoleto and Rome where he composed his work in five books 
entitled “Regole Generali de Architettura’, 1549, Venice. He sent a copy 
to Francis I. who presented him with 300 gold crowns and asked him to 
Paris, whither he went in 1541 with his family, and was appointed architect 
at Fontainbleau. He was also invited to plan the court of the Louvre, but 
generously recommended the plan of Lescot as superior to his own. After 
Francis’ death he returned to Lyons, where he had little to live upon, but 
returned afterward to Fontainbleau and died there in 1552. He probably 
also completed some of Peruzzi’s buildings in Bologna and may have done 
other works there from his own designs. P. Selvatico in praising Peruzzi’s 
work! says that Serlio’s books are really Peruzzi’s material edited by Serlio, 
which is perhaps what Serlio wished to convey without actually saying so. 
Lomazzo (p. 14 in “Idea del Tempio”) directly accuses Serlio of plagiarism 
in using the actual work of Peruzzi, but in view of what Serlio declares, 
this charge hardly holds. ‘The Ferrarese, Jacopo Melighino, finally made 
architect-in-chief by Paul III., fell heir to most of Peruzzi’s manuscripts 
and drawings of ancient Rome, but it would seem that Serlio later possessed 
a very large part of them. 

Peruzzi’s son, Giovanni Sallustio (or Salvestro, or Salverio), married, 
had children and inherited his father’s talent to a degree, for the Uffizi 
possesses several of his drawings of ancient buildings and he is known to 
have done work for the Austrian Emperor Maximilian II., in 1567, and for 
Paul IV. the “gateways of the Castle of St. Angelo”. Onofrio or Onorio 
(Honorius) became a monk and the lives of the other children are not note- 
worthy. 

P. Ugurgieri mentions "Tommaso Pomarelli of Siena as a disciple. 


1In “Storia Estetico-Critica delle arte del Disegno’’. 


iMag aNe oA RE PRR OZ Zl 61 


Francesco da Siena was also a pupil, from whom Vasari obtained the like- 
ness of Peruzzi, shown in the early editions of the “Lives”. Very little 
is known of this artist, but Vasari speaks of him with praise and as Peruzzi’s 
“creature and disciple’, and also mentions a certain Pierantonio Salimbeni 
(who received Peruzzi’s sketch book) as another pupil, and, as among his 
distinguished pupils, Tommasino della Spezia whom II Ferri names as archi- 
tect of a building, unlocated by me, which served as a custom house in Siena 
as recently as 1859. Daniele da Volterra, or Ricciarelli, was also for a 
time in Peruzzi’s studio and at another time worked under Bazzi. 

| One of his best trained and most careful pupils and followers was 
Antonio Maria di Paolo Lari, “Il (or Del) Tozzo” born in Siena in 1503, 
both painter and architect. In the years after Peruzzi’s death he did con- 
siderable work for the Sienese government, as its records show, and like 
Serlio may have completed some of the master’s work. 

Giovanni Battista Peloro was another Sienese architect and pupil of 
Peruzzi, while Riccio of Siena, son-in-law of Bazzi, T. Pelegret of ‘Toledo, 
Spain, G. Philandrier of Rodez, France, and Vergilio of Rome were painters 
who were instructed by Peruzzi, as was A. Rozzo. 

It is possible that through Pelegret the designs of Peruzzi now in the 
Prado and Escorial reached Spain, and one in Montpellier, France (Gallerie 
des Beaux Arts) may have been carried to France by Philandrier. 

The Nuova Enciclopedia Italiana gives, as Peruzzi’s most famous pupil 
among painters, ‘“Momo”’ or “Girolamo da Siena’. 

‘That Peruzzi’s genius never found full expression in a great construction 
such as St. Peter’s, all lovers of architecture must regret, for in all prob- 
ability he would have built a grand church. His dome would hardly have 
surpassed Michel Angelo’s but it would have been in harmony with his 
entire plan. Moreover, both inside and out he would not have failed to 
enrich it with better details than those of the present church. 

Peruzzi’s fame has suffered because the exact location of his tomb in 
the Pantheon is unknown and the building does not even contain an epitaph 
or bust of him. ‘These conditions seem like a continuation of the strange 
fatality that pursued him while living, and if a rival caused his death, the 
same envious influence may have soon destroyed his epitaph. He was a 
man deeply engrossed in his work and this and his reserve kept him from 
many intimate friendships and deprived him of the greater protection and 
hero-worship which Michel Angelo, Raphael and others received. Had he 
left an autobiography as Cellini did, or even been able to finish his treatise 
on Rome, his fame would have been more widespread, but he evidently could 
not or would not put himself forward and so the world only appreciated 
him at a part of his full worth, and the obliteration of his epitaph passed 
unnoticed. 

The Romans gladly employed him, admired his talent and respected his 
fine qualities, but no doubt many clients took advantage of him, often paying 
him very little or else forgetting their obligations entirely. ‘This was the 


62 LiL BO UAIN GD OSRAIC Oe 


experience of many great artists during the Renaissance. Cellini especially 
complains of the neglect which he suffered from Popes and princes, who 
failed to pay him promptly or at all. The Medici, Paul III., Francis L., 
and others are so often spoken of as forgetful, to say the least, that apprecia- 
tion of talent and forgetfulness of obligations seem purposely to have gone 
hand in hand. At his death Rome, as a whole woke to the fact that Italy 
had lost a great artist, mourned him, buried him near Raphael and soon, 
in the troubled times following, turned to more urgent things, but it is 
strange that no later attempt has ever been made to place his bust in the 
Pantheon and renew the mortuary inscription. 

It is however, not too late to right all this injustice; men of his stamp 
are so rare that humanity cannot for its own sake afford to disregard his 
rightful claims to its gratitude. For besides artistic qualities, most of his 
characteristics were among the noblest which men can possess, his teaching 
of the highest rank, and his legacy is the fact that what really counts now 
as then, is the high aim in life and art, not alone pecuniary success. 

Signor D. Gnoli remarks! that ‘‘the city of Rome ought*to have his 
epitaph re-cut and placed not far from the tomb of Raphael. It is a disgrace 
that anyone visiting the Pantheon is not able to find the name of the great 
architect buried there’. 

During the last quarter of a century his fame generally, but especially 
in England and America, has been steadily and rapidly increasing, as shown 
by the appreciative articles in various periodicals and the increasing discus- 
sion of his genius among architects and painters. Already the fragmentary 
Peruzzian bibliography in many forms is most extensive. It is therefore 
possible to hope that his admirers, whether of his own or of all nationalities, 
will eventually place in the Pantheon a duplicate of the excellent bust of 
him made in 1853 by Giovanni Dupré, and now on the wall of the Accademia 
di Belle Arti at Siena, and replace the epitaph which Vasari gives. 

When we look back upon Peruzzi’s life it is impossible to fully realize 
the dark side of it; time obliterates the worst features of all such conditions. 
Yet, if we cannot fully appreciate the sufferings and disappointments we 
can clearly see through it all his never failing pluck and his confident happi- 
ness in work. Poverty, neglect and sickness apparently were to him mere 
phases made tolerable by his great vitality. It must have been a stout and 
cheerful heart that could endure such a life, ever overcoming disappointment 
and forgetting ill-treatment to begin new works, for in all of these we can 
trace the delight of the one who invents and creates, the incomparable joy 
of the artist. 


1In “L’Archivio Storico dell’Arte’’, Rome. 


END 


Piasninwoe UR PERO ZL ZI 63 


THE Peruzzi GENEALOGY 


AccoRDING TO MILANESI AND OTHER RECORDS 


Peruzzo. 


Salvadore. (wife unknown) 


Salvestro, married Lionda di Enrico D’Alemagna. 


Desiderio Maria. 


Born Feb. 15, 1475. 


Pietro (according to 


record, or note of a 
deed, in the acc. book 
of the Confraternita 
dei Lombardi, dated 
beat, 1 is is. ‘near 
the church of 5S. S: 
Ambrogio e Carlo, 
(san Carlo al Cor- 
so), Via del Corso, 
Rome), painter prob- 


ably. 


Giovanni Salvestro] Simone. 


or Sallustio 


arch. & engineer, 
married and had 


sons. 


Giovanni, weaver of Volterra. 


(wife unknown) 


Baldassare Thomasso. Arch. & painter. Virginia. 


b. Siena, Mar. 7, 1480-d., Rome, Jan. 6, 


1536, 

Married Lucrezia d’Antonio del Mate- 
rasso (painter), probably about 
1528. 


Ac Oat Moe ER eae i ee ee 
Onorio, or Onofrio} Claudio] Emilia | Sulpizia 

Dominican friar & 

painter. 


64 LTE EOIN SAGO RRS OT 


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Blomfield, Reginald—Studies in Architecture, London, 1905. 

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Builder, Journal XVII, p. 309. 

Cartwright, Mrs.—Isabella d’Este. 

Chalmer’s Biographical Dictionary. 

Crowe and Cavalcaselle—History of Painting in Italy. 

Cust, R. Hobart—Pavement Masters of Siena, London, 1891. 

Dictionary of Architecture—Architectural Publication Society, Richards, 
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Donaldson, Thomas—Of Doorways in Greece and Italy, London, 1833. 

Douglas, Langton—History of Siena. 

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Florence, H. L.—List of Designs for San Petronio, Bologna, R.I.B.A. Trans- 
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Gardner, E. M.—The Story of Siena-—Dent & Co., London, 1905. 

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Heywood—A Pictorial Chronicle of Siena. 

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Milizia, Francesco—The Lives of Celebrated Architects, Ancient and Mod- 
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Moore, ( Prof.) C. H.—Character of Renaisernee Architecture; Ni Yj216an: 

Reveley, Henry—Drawings & Sketches—Longman, London, 1820. 


PaO aS SARE PE RUZAI 65 


Rossi, G. G.—Modern Rome, R.I.B.A. Sessional Papers, Apr. 4, 1859, 
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Papers, 1870-71, page 4 (See Angell). 

Seymore—Siena and Her Artists, 1907. 

Simpson, F. M.—A History of Architectural Development. Vol. III, Lon- 
don, 1912. 

Spooner’s Dictionary of Painters and Engravers—Putnam, 1858. 

Stapley, Miss M.—This Most Excellent Master “Baldassare Peruzzi,’ Archi- 
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Symonds, J. A——History of the Renaissance in Italy. 

Timler, J. C.—Renaissance in Italy. 

Venturi, A.—The Farnesina, Rome, 1891. 

Vasari, Giorgio—Lives of Seventy of the Most Eminent Painters, Sculptors 
and Architects, E. H. & E. W. Blashfield, Scribners. 

Waring, J. B—Arts Connected with Architecture in Tuscany. 

Worthington, J. H.—Baldassare Peruzzi of Siena, Journal R.I.B.A. October 
18, 1913. 


ITALIAN 


Albertini—DeMirabilibus Novae et Veteris Urbis Romae. 

L’Archivio dell’Arte Italiana—Rome, Periodical. 

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Borghesi e Banchi. Nuovi Documenti per la Storia dell’Arte Senese. 

Bottari e Ticozzi—Raccolta di Lettere sulla Pittura, Scultura ed Architettura, 
Milano, 1822. 

Callari—I  Palazzi di Roma, Roma, 1907. 

Campori, G.—Gli Artisti Italiani e Stranieri negli Stati Estensi, Modena, 
1855. 

Cavalerius, Gio. Battista—‘‘Efigies Pontificum Romanum.”  Romae 
MDXCV. 

Chigi, Fabio—Memoir of Agostino Chigi. 

Corvisieri, N.—Nuova Antologia, and Series, No. 39, 1883. Note to page 
612: 

Cugnoni—Agostino Chigi I] Magnifico, Roma, 1881. 

Della Valle, Fra Guglielmo—Lettere Senese Sopra Le Belle Arti—Roma, 
1786. 

Della Valle, P.—Lettere Senese. 

Dissertazione Anconitani—Bologna, 1818. 

Donati—Elogio di Baldassare Peruzzi, Siena, 1879. 

Egidius, Gallus—DeViridario Augustini Ghigi Patritii Senensii—1511. 

Fea—Notizie Intorno Rafaello Sanzio, 1822. 

Fontana—I1 Tempio Vaticano—1694. Raccolta delle Chiese di Roma. 

Frizzoni—Gustavo, Di Alcune Opere di Disegno da Rivendicare al loro 
Autore, l’Artista Senese Baldassare Peruzzi. In “Il Buonarotti.” Serie 


Peeve. Vi, 1871. 


60 BIE E "a NED ee Re So A 


Frizzoni—Delli Pitture di’ Baldassare Peruzzi. “Il Buonarotti’, Roma, 
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Frizzoni—‘‘Baldassare Peruzzi Considerato come Pittore’, L’Arte Italiana 


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Gaye—Carteggio II (Il Giornale della Fabrica.) 

Gaye—Carteggio III (1520-27,—Bologna.) 

Geymiller, Baron H. Von—Also French and German Authors. 

Gnoli, D.—Have Roma. 

Gnoli, D.—I Sepolchri di Maria Bibbiena e di Baldassare Peruzzi, L’Archi- 
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Hermanin, F.—Alcune Pittore Giovanili del Baldassare Peruzzi, Roma, 
1896. 

Indice Geografico Analitico dei Disegni di Architettura. R. Galleria degli 
Uffizi in Firenze, Roma, 1895. 

Lami, G.—Lezioni di Antichita Toscane, 1766. 

Lamo, Pietro—Graticola di Bologna, 1560. 

Lanzi, G.—Storia Pittorica dell’Italia dal Risorgimento, Bassano, 1795. 
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Lazzeri, L.—Siena e I] Suo ‘Territorio. 

Lomazzo, G. P.—Trattato dell’Arte della Pittura, Milan, 1584. Eng. 
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Losi, Carlo—Nuovo Splendore delle Fabbriche in Prospettivo di Roma 
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Magazzari, Giovanni—Raccolta de’Ornati di Bologna. G. Tecchi, 1827, 
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Malvasius—Pitture. 

Matas, N. & Angell—Elogio che l’Anno, 1842, Fu Censecrato alla Memoria 

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Milanesi, Gaetano—Documenti per la Storia dell’Arte Senese, XVI Secolo, 

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Mondolfo—Pandolfo Petrucci. 

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pana SARE PER UAL 67 


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Quatremére de Quincy—Histoire des Vie et des Ouvrages des Plus Celebres 
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(SERMAN 


Baedeker, Karl—See ‘‘English.” 

Burckhardt—Die Cultur der Renaissance in Italien. 
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Denkmaler der Kunst. 


68 LIFE 2A NDA eo 


Die Renaissance Architektur Italiens; Leipzig, 1872. 

Durm—Handbuch der Architektur (Renaissance in Italien) 1903. 

Egger, Hermann—Entwiirfe Baldassare Peruzzi’s etc., Wien. 

Forster, R.—Farnesina Studien, Rostock, 1880. 

Geymiiller, Baron H. von—Die Architektur der Renaissance in ‘Toscana, 
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Haupt, Albrecht—Palast Architektur von Ober Italien & Toscana. 

Laspeyres, Paul—Die Kirchen der Renaissance in Mittel-Italien, Spemann, 
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Luebke, W.—Geschichte der Italienischen Maleri. 

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Redtenbacher, R.—Mittheilungen aus der Sammlung Architektonischer 
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Redtenbacher, R.—Die Architektur der Italienischen Renaissance. 

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Wickhoff, Franz—Disegni Italiani dell’Albertina (Vienna). In Italian. 


Reged) AN ARE PER OZ L 69 


List of Works Attributed to Peruzzi 


Including Certain Sketch Plans, Paintings, etc. 
in and near Siena 


AUTHORITIES. 
“C, W.” means Char- 
acter of Work itself. 


Vasari— 1501—Chapel of San Giovanni, in Duomo, with Pin- 
toricchio. Contains the “Vigil of San Giovanni” and his 
“Preaching in the Wilderness,” etc. 


Berenson— 1527—Badly preserved Fresco Sketch near the arch of 
Cc. W.— the “due Porte.” 
Bedford— In the “Opera of the Duomo, design for the ‘“‘Porticato 


of the Piazza Pubblico, made for Pandolfo Petrucci, 
drawing by Pomarelli from Peruzzi’s design. 


Cc. W.— 1523-27—Three ceilings in the Pollini palace—1—Sub- 
Milanesi— “ject from Roman History. 2—Adoration of the Magi. 
(Pl. 66.) 3—History of Susannah and the Elders. 


Bed ford— Ceiling in the Nerucci-Piccolomini palace; ornamented 
Cw plaster and painted panels. 
Nouvelle 
Biographie Piccolomini-Bellanti palace, “The Continence of Scipio. 
Generale— 
Lanzi— Holy Family, in possession of the Sergardi family of 
Siena. 
~ Della Valle— 1528—Fresco in church of Fontegiusta of “The Sibyl 


Foretelling to the Emperor Augustus ‘The Birth of 
Christ.” Sketch of it in Peruzzi’s Siena Sketch book 
and another study (Pl. 68) in Metropolitan Museum, 
New York. 


P. Della Valle— Bideeds of Moses” painting at Villa Vicobello. 


C. W.— Three paintings in the house of Signor Selvi. 
Romagnoli— 


C. W. & hand- 1528-30—Sketch books in the Biblioteca Communale 


writing. with pen and ink portrait of self. 


70 


Nouv. Biog. 
Generale. 


C, W.— 


CW 
Plan of villa, 
etc. in Uffizi. 


Lanzi— 


DIP EON Daas ae 


1§20-21—In Mocenni palace, three “‘traits de l’histoire 
de Jonah.” 


Frescoes after 1505 in many vaulted rooms of the Villa 


Mieli (Le Volte). 


1535—Frescoes at Villa Belcaro; a “Judgment of Paris” 
(Pl. 74), classical subjects, birds and lattices (Pl. 76), 
Four Evangelists, Martyrdom of Saints, Madonna and 
Child, and Arms of Turamini family dated 1535. 


In Parish church of Bibbiano or ‘Torre Bibbiana, or 


Larouse. ( Dict.) — Torre-Balbiana, altar-piece of Virgin and Child, St. John 


G. Della 
Valle— 


G. Della 
Valle— 


Ufizi— 


C. W.— 


Matas— 


Matas— 
Baedeker— 
Coes 


‘Tradition— 


Vee 


Vasari— 


Burckhardt— 


and St. Jerome. 


At Ansano-a-Dofana, a Madonna and Child. At Cerre- 
to-Ciampoli, a Nativity, in the Chapel, with S. S. Ber- 
nard, John the Baptist and Jerome and Joseph, and, above 
the arch, the Eternal Father—Two doors in the “‘Casa di 
5.8. Cioni.” (See also under: “Boston, Mass. } 


The Brescianini “Holy Family” at Siena attributed to 
Peruzzi, and also to Pacchiarotto (by Della Valle), but 
the outlines and the Child and the Virgin are in manner 
Peruzzian. 


Plan for alteration of Church of S$. Domenico. (Pl. 84). 


- In AND Near SIENA. ARCHITECTURE 


Chapel outside the Porta Camollia (Pl. 54). 


1501-4—Chapel of San Giovanni in the Duomo. 
1505—Villa Chigi-Mieli near Siena (Pl. 7-8). 


1507—Church of San Sebastiano (degli Innocenti), in 
Via Vallepiatta (Pl. 6). 


1508—Martirio of San Ansano-a-Dofana, 5% miles 
from Siena. 


Fonte di Pescaia. 


1523-29—Parts of the city walls, Bastion and seven 
gates including Pispina, Laterina, San Prospero, and Cam- 


ollia (Pl. 46). 


1527—Cloister of the Osservanza (Pl. 87), opposite 
Siena. 3 


Pees kA RE PERU ZZ) ai 


Milanesi— 1527—-Cloister of the Carmine (Pl. 71) and Tower 
Uffizi Coll.— Helle fo 


1527—Cloister of San Martino (Pl. 20-58). 


1527—Cloister (Pl. 56) of the House of St. Catherine 
and Court. 


Geymiller— Doors of the House of St. Catherine. 


Hill— Organ Case in the Church of the Ospedale. 
Organ Case in the Duomo (Pl. 53). 


Vasari Hospital of Santa Maria della Scala and ceiling in same 
i Se 
1519—Church of San Spirito, front and doorway for 
Bishop Girolamo Piccolomini of Pienza. 

Muilanesi— 1532—High altar of Duomo and Apse decoration of 
Pilasters, also Main Doors and the Steps, and Balustrade 
to pulpit of Pisano. 

Matas— Design of Altar for Duomo, Siena; now is in Palazzo 
Reale im Purin (PI..73.). 

Grandjean & House with round arches and Madonna enshrined on 


Famin—C. W. first story exterior on Via del Corso (old name). 


Milanesi— Marble Seat in Loggia della Mercanzia or Casino di 
Nobili, carved by Marrina (Pl. 59). 

Riccio— Church of San Giuseppe (PI. 60). 
Church of the Servi, Interior, at least (Pl. 69). 

Milanesi & 1523-4-7—Pollini (or Celsi) palace (Pl. 66-67). 

C. W. & Oratorio della Selva. 

frescoes. Building at right of Pal. del’ Papesse. 

Milanesi & 1520-5—Mocenni or Francesconi palace, via Cavour near 

Plan in the Lizza (Pl. 55). 

Ufizi— 

C. W.— Turchi or Diavoli palace (Pl. 83). 

Strack— Chapel of same. 

C. W.— House No. 24 Via Baldassare Peruzzi (Pl. 57). 

Cc. W.— 1531—Church of Valli beyond Porta Romana. 


Villa at Torré Bibbiana, 18 miles from Siena, for Car- 
dinal Petrucci. 


72 


Della Valle— 


Della Valle— 


Wiig 
Caw: 


Romagnoli— 


C. W. and 


Frescoes— 


Cesare Peruzzi— 


Cay 
Baedeker 


Burckhardt— 


A. Ricci 
V. Mariani— 
C. W. 


Bedford— 


Ufizi— 


C. W. & other 


authorities— 


Uffiizi— 


V asari— 


Ufhizi— 


LIPECANTOIRORES 408 


1528—Restoration of Ponte all ’Orcia at Bagni dei 
Vignoni and plans for fortifications (1529) of Asciano, 
Chianciano, Sarteano, Chiusi, Torrita, Bridge of Buon- 
convento, etc. 


Gateway and Chapel at Cerreto-Ciampoli. 


1525—Villa Belcaro (Pl. 74-75-76). 


Villa Saracini, Interior. 
Villa of Signor Lodoli, suburbs near Porta Pispina. 


Villa Vicobello (Pl. 17). 


Villa Santa Colomba (PI. 61) about the date of the 
fresco of the Presentation in S. M. della Pace, Rome, 
probably after 1516. 


1527—Villa Celsa. Probably not the original mage 
but chapel court, etc. (Pl. 62-45B-46). 


L’Apparita or Podra delle Loggie, near Villa Nerucci 
Bee hos t's 


Church Tower like the Carmine, between Santa Colomba 
and Celsa villas. 
MonTE SANSAVINO—ARCHITECTURE 


Plan of Church of San Agostino. 


MOoNTEPUCIANO 


Contucci or del Monte palace (Pi. 83). A. San Gallo 


the Elder and Peruzzi. 


1519—Designs for Ricci palace and another little house 
Via Cavour No. 27 and House Via Ricci No. 9. 


Port’ ErRcOLE 


1531—Designs for Casemates. 


CASTIGLIONE DELLA PESCAIA 


Plans for a house near there for heirs of Silvio Picco- 
lomini. 


Ufhzi— 


Uffizi— 


Ufhzi— 


Vasari, Semper, 
Campori— 
Baedeker 
Spaccini— 
Semper— 


Milanesi, 


Fletcher— 


Crowe & 


Cavalcaselle— 


V dsari— 


Lanzi— 


Vasari— 
Gaye— 
Geymiller— 


BPAde aS SARE FER U-LZ 1 73 


CastEL Nuovo DELLA BERARDEGNA 


Plan for Church and Monastery. 


RAPOLANO 


Plan for house for Vescovo Venturini. 


Monte ANTICO 


Plan for enlarging “Casa di Belgrado.” 


CarRPI 


1511—Design for La Rotonda, destroyed in XVII. cen- 
tury. 


1517--20—Much of the Church of San Niccold (PI. 
a0). 

1514—Model for Duomo, for Alberto Pio (PI. 28). 
‘The Great Portico or Arcade (PI. 31). 

1515—Front of Oratory, “La Sagra” (Pl. 30-31). 


‘Topi 


The five-domed church of S$. M. della Consolazione (PI. 
26). 


VENICE 


In the Seminario a design “Penelope Spinning” is in a 
Peruzzian vein. 


BoLOGNA—PAINTING 
Design for Count Battista Bentivogli, “Adoration of the 
Magi’, engraved, 1579, by Agostino Caracci, now in 
National Gallery, London. 


At S. Michele in Bosco, Monte Oliveto, Bologna, Deco- 
rations “in Grottesche.” 


BoLoGNA—ARCHITECTURE 


1522-34—-Designs for San Petronio, now in Sacristy. 
Detail for San Petronio facade (Pl. 44). 


74 


Lamo— 
Bedford & 


others— 


Malaguzzi 
Valeri— 


Pietro 
Lamo— 


Bedford— 
C. W. 


EAN 


Crave 


Malaguzzi 


Valeri— 


LIP E VAN OrR: KOS Oils 


1522—Fioresi or Monari Palace in Via Galliera for Pan- 


filio dal Monte (Pl. 49). 
Lambertini Palace (destroyed). 
1522-40-84-1612—-Albergati Palace (Pl. 47). 


1543-44—Boncompagni, now Benelli palace, courtyard 
and entrance doorway from street (Pl. 48) 


1522—Large window, ground floor, Pal. Pubblico with 
colunins and eagles (Pl. 50). 


1522—Central doorway under the colonnade leading 
from the court of Pal. Pubblico (PI. 50). 


1522—In Church of San Procolo, colored bas-relief of 
“Adoration of the Magi’, closed by little door under 
organ. 


Malaguzzi Valeri—1522-23—-At Church of San Domenico, the brick chapel 


Many authors. 


Ghisilardi, later Malvasia, on left of front of church (PI. 
35) 

1522-23—Part of Church of Madonna Galliera, door on 
left of front (Pl. 46). 


At San Michele in Bosco, near Bologna, a doorway i: 
51), and decoration of pilasters of Apse. 


FLORENCE—PAINTING, ETC. 


Holy Family in the Pitti Palace collection (Pl. 86), many 
sketches in the Uffizi Collection of Designs (Galleria dei 
Disegni e Stampi), including a “Marriage of Rebecca’, 
with a portrait of himself at left end. It hangs framed 
in the Director’s Room (1914) and is No. 244 Bis.— 
Also many designs of Architecture, Ornament, Engineer- 
ing, etc. See Mililanesi’s comprehensive catalogue of 
Peruzzi’s drawings in the Uffizi. Especially a fine de- 
sign of a grand facade with figures of men and women 
in foreground—and a fine project for ceiling decoration. 


PAL DAS SARE PERU AZ I 75 


FERRARA 
Lanzi— 1527—-Palace Sacrati and Doorway (Pl. 18). 

VITERBO 
Della Valle— Panteone di Pontremoli (Ponte Tremoli) (Pl. 63), i.e. 
Bedford— Santa Elisabetta or S. M. della Peste. Also buildings 


(possibly) non-existing, at Ferentium or Ferento near 
Viterbo, possibly those mentioned by Vasari as “built on 
the road leading to Viterbo”, for the Orsini. 


CAPRAROLA 


Milanesi— 1528-30—Original designs for the pentagonal Farnese 
Villa, finished by San Gallo and Vignola (Pl. 72). Other 


studies at Siena and Vienna for this. 


CHIUSI 
Berenson— Duomo, in Sacristy “Madonna & Saints.” 
APULIA 
Vasari— Some plans for yet unidentified (if built) buildings, “to 
be constructed in Apulia.” 
MILAN 
C. W.— Collection Conte Giovio—“Dido and Aeneas.” 
M aprip 
Bedford— Two early paintings in Prado Museum formerly attrib- 
Berenson— uted to Early Umbrian School. Possibly carried to 


Spain by Peruzzi’s pupil T. Pelegret of Toledo. They 
are called No. 574, “The Continence of Scipio” and 
“Rape of the Sabines,” No. 573. 


ENGLAND 


Berenson— Sir Henry Howarth, 30 Collingham Place, London, 
3.W., owned a picture pronounced Peruzzi’s. 


76 Dl STE COANE ore 


Winter Exhibition of the Grosvenor Gallery, 


1877-8 
Grosvenor William Russell, Esq., loaned a sketch No. 730, in pen 
Gallery and bistre by Peruzzi, a Virgin and Child and Children 
Catalogue (signed) from Collection Le Goy. E. Cheney, Esq. 


loaned another No. 738, “Adoration of the Kings’, a 
pricked cartoon pen drawing. ‘The National Gallery, 
London, owns the ‘‘Adoration of the Magi” (His last 
style) in chiaroscuro with the portraits of Raphael, 
Michel Angelo and ‘Titian as the Kings, also a copy of 
a similar subject in oil, on a wooden panel, presented by 
Lord Vernon in 1837. 


C. Wi Sketch for architectural design—Chatsworth Collection—- 
Photo Braun & Cie. 


Collection of John Malcolm of Poltalloch Esq. 
by | 
J.C. Robinson, January 5, 1869, London—Chiswick Press (as follows) : 


SIENESE SCHOOL 


London— No. 137—St. Helena, the Mother of Constantine Wit- 
Chiswick nessing the Discovering of the True Cross—Bistre wash 
Press— on brownish tinted paper heightened with white. 


No. 138—Bacchanalian Scene—-crowded composition of 
many figures—panthers, elephants, etc. A highly finished 
pen drawing in bistre, heightened with white on brown 
paper. 


Drawings by the Old Masters in the Library of 
Christ Church, Oxford. 
C’. F. Bell, Oxford, Clarendon Press, 1914 


A Political Allegory D. 27 (Lely Collection) 


Elevation of the ae 7 
Plan of the Pantheon se 


Section of the Pantheon 7 
: : =2. 
Section of vestibule, 

and attributed to him, i.e. 

A “Virgin and Infant Christ and Other Figures’—D. 28. 
Holy Family, W. 4-5 and Virgin & Christ, W. 6. 


Bete Doews ARE MP BRUT Zl FA: 


In the Sale of the Collection of Rev. Dr. Wellesley, 
Principal of New Inn Hall, Oxford. 
By Sotheby, London 


No. 1440—Baldassare da Siena—“A female seated, a 
book in one hand, a serpent in the other. Red chalk, 
714 x 934 inches. 


In “Drawings and Sketches’, Henry Reveley, Esq. 
1820 
Longman, Hurst & Rees, London 


Page 35 notes a “Drawing in the Crozat Collection, of 
“figures and a lion”, pen drawing washed and heightened. 


Bridgewater House 


“Adoration of the Magi.” 


Collection of Dr. Mond, London 


Berenson— “Portrait of Alberto Pio of Capri, A.D. 1512’— 

(Braun photo.). 
ROME 
Painting—Designs 

Fresco at Ostia, destroyed except “The Three Graces” 
now in the Chigi Palace. (First or Early Style.) 
Fresco—Two Chapels San Rocco-a-Ripa, Rome. (First 
or Early Style.) (PI. 9). 
Fresco in Apse of San Onofrio. (Early Style.) 
Madonna, Child, St. John and Saint, Doria Gallery 
CPL 86). 7 
Holy Family by Peruzzi, belonging to Cav. Cavaceppi. 
Vatican. A frescoed corridor for Pope Julius II., now 
destroyed—Subject—Months and Seasons. 
1529—Colossal figures of St. Antoine and St. Benone in 
church of the Anima. (Destroyed ?) 

Della Valle— 1528—F resco opposite church of San Salvatore in Lauro 


(now destroved?), Sibyl Foretelling to the Emperor Au- 
gustus the Birth of Christ (Pl. 68). 


78 


Berenson— 


Frizzoni— 
Berenson— 


Vasati-_— 
and others. 


Crowe & 


Cavalcaselle— 


Vasari 
Venturi— 
Berenson— 
Letarouilly— 


Vasari— 


Vasari— 
Ingres— 
Griiner— 
Letarouilly— 


el EE TAINED Pe ORI Ss AC 


Villa Albani—-“‘Madonna and Saints Lawrence and James 


and Donor” (Early Style). 


Historical paintings in Palazzo dei Conservatori in Cam- 
podoglio, formerly attributed to Bonfigli and Alessandro 
Botticelli, Sala IV., Judith—Roman ‘Triumph (Early 
Style) Sala VII., Hannibal in Italy. 


1500-9—Five mosaic ceilings in crypt of Santa Croce in 
Gerusalemme. Our Saviour (centre). Four ovals at 
Sides of Four Evangelists and above are The Making 
of the Cross, Four Saints and kneeling figure of the 
donor Cardinal’ Carvajal “(Fl 10). 


Paintings on ceilings of Camera D’Eliodoro, Vatican, all 
but one part which was finished by Raphael’s pupils. 
Berenson says only the decorative portion, or framework. 
(Early work.) 


1511-18—At the Farnesina Villa, ‘Trastevere, exterior 
decorations in “‘terretta’”’, now destroyed. Ceiling of Hall 
and Head in black crayon in lunette, on ground floor 
toward the Tiber, next to garden entrance Hall, or Hall 
of Cupid and Psyche in Ist Story. (Second Style.) 


Frescoes in room on ground floor toward Corsini palace. 
Also Room I. in second story, views of Rome seen between 
painted dark marble columns and above them a classic, 
storied frieze. 


1516—Fresco of the Ponzetti Chapel in S. M. della 
Pace (Second Style), Madonna and Child and two 
Saints and donor Ferrando Ponzetti (Pl. 33). 

In same church “Presentation in the Temple,” for Filippo 
Sergardi of Siena. (First Style.) “CPimeaae) 

“Rape of the Sabines” now in Chigi Palace. (Second 


Style. ) 


Barrel vaulted ceiling in the Cancelleria palace with 
penetrations of round arches, fresco of Creation, etc. See 
Letarouilly. This room is at rear corner, first story 
above street and looks out on Corso V. Emanuele and 
on the rear garden. Figures and ornament on gold back- 
ground. (Second Style.) 


-Moscioni— 


Beate lv 


Vasari— 
Frizzoni— 


Gruner— 


Berenson— 
Biographie 


Universelle— 


Berenson— 


Lermolieff— 


BALDASSARE PERUZZI 70 


In chapel off of cloister of San Salvatore in Lauro, three 
ceiling frescoes, Creation of Eve, the Temptation, and 
Two Saints. The gesture of one figure in latter panel 
recalls clearly that of the Sybil in Fontegiusta, Siena. 
This chapel belongs to the Sodalizio dei Piceni of Rome. 
(Second Style.) 


Design, engraved, in grisaille of Hercules driving Ava- 
rice laden with gold and silver vessels, from Mt. Par- 
nassus, ‘The Muses being in fine and varied postures’, is 
now in Biblioteca Corsiniana as a Wood Engraving on 
three blocks signed “Bal. Sen.” and ‘Peruzzi.’ (Second 
Style.) Beatrici also engraved this. 


Fresco in Palace Poniatowski (later Giorgi) near the 
Villa of Pope Julius. (Second Style) ; the ceiling of the 
Salon vaulted with penetrations. Centre Panel, Queen 
of Sheba visiting Solomon and arabesques in Pompeiian 
style. Question as to how much Peruzzi had to do with 
the design of the building itself, perhaps considerable. 
(See Griiner. ) 


Corsini Gallery—“Flight into Egypt.” 


In church of Ara Coeli, Rome, frescoes or paintings in 
the chapel of the Transfiguration, also painting on door 
of the Sacristy. 


Museo Christiano. Case S. VIII. “Marriage of St. 


Catherine.” 


Collection of Prince Hohenzollern of Sigmaringen, Ger- 
many, a sketch of “Adoration of the Magi’, Tapestry 
from it now in Vatican. Another version in England, 
in Oxford University Collection, wrongly ascribed to 
Raphael. 


Venus from the Bath—painting in the Borghese Gallery, 
Draperies added. (Second Style.) 


DRAWINGS IN THE UFFIZI 


Among the more important of the drawings of Peruzzi in the Uffizi 
are designs for the “Mantellate di Santa Monica”, in the old market at 
Siena; for the palace Del Monte for Count Ricci at Montepulciano built 
in 1519, on the Duomo Piazza. Also a plan for the church of “S. Salva- 


80 DT ES ON De Ges pe 


tore and Monastery” houses, etc., location unknown; for a fortified con- 
struction at Castelnuovo della Berardegna near Siena; for candelabra and 
canephorae; for a house for Bishop Venturini at Rapolano; for a house at 
Castiglione della Pescaia for the heirs of Silvio Piccolomini, near Siena. 
For S. Giovanni in Fiorentini, finally built by San Gallo; for Madonna della 
Penna; for Santa Maria in Vallicella (called ‘Chiesa Nuova”) finally built 
by others in 1580; for a palace for the Bishop of Amalfi; a palace for the 
Cardinal of Capua; a very extensive and interesting palace for Conte di 
Pitigliano (Orsini), on the ruins of the Baths of Agrippa of which design 
Von Geymiller wrote a good monograph; for a house for Cardinal Cesarino; 
the reconstruction of Santa Maria Libertatrice and its monastery, on the 
ruins of Tempio dell’ Divo Augusto, Rome; a circular church to be built 
near the Campodoglio on the ruins of an old edifice; for S. Giacomo in Au- 
gusta, Corso, Rome (PI. 18); for the church of San Agostino at Monte 
San Savino; fortifications for Chianciano, Sarteano (Val di Chiana), and a 
Castello. Another drawing shows fortifications of “Tunis, and various other 
North African cities near by, all of which are rich in suggestion and in- 
spiration, and it may be that certain of the buildings and fortifications were 
erected as planned and have been forgotten in their respective locations, al- . 
though still standing. 


RoME—ARCHITECTURE 


Vasari— 1503-9—Part of Church of San Rocco-a-Ripa (Pl. 9). 


Dictionary 


“Ospedale dei Eretici Convertiti”, formerly the Palace 


of Archi- Spinola, and “degli Eretici Ravveduti” near the piazza 
tecture, by of St. Peters—both with Bramante—as was the ‘‘Casa de 
Arch. Pub. Rafaello,” and Palace Vidoni (Giustiniani-Bandini) 
Society, £507-O6C bled tos 

London. 

Vasari & Farnesina Villa, Casino, Loggia and Stables, in Traste- 


Fabio Chigi 


vere (Pl. 12-13). 1508-19. 


Callan Church of San Eligio, Peruzzi and Raphael (PI. 21). 
Matas— Casino for Pope Julius II., in Vatican, now destroyed. 
Uffizi Portico of S. M. in Domnica, 1512 (Pl. 14). 
Collection— 

Larousse Palace Savelli (now Nugari) Nos. 11-12 Vicolo Savelli, 
Dictionary— now much altered. See Callari’s “I Palazzi di Roma”, 


P- 339- 


Percier & 


Fontaine— 


Letarouilly— 


Larousse— 


Serlio, 
Uffizi and 
private col- 
lections— 


Letarouilly & 
Bice, 


Letarouilly 


Letarouilly— 
Baedeker— 


Vasari— 


Letarouilly— 
Lalande— 


Letarouilly— 


Letarouilly & 
Griiner— 


HAT ASSAR E OPERUGAZ I 81 


Little Palace in Strada del Borgo Vecchio. Four win- 
dows, ground floor and groined circular arched doorway. 
Three stories high with groins at corners of building and 
square attic windows. 


Medici Palace in Via Giulia between church of San 
Giovanni dei Fiorentini and Palace Sacchetti and next 
to former Collegio Banderelli (Pl. 14-22). 


Large part and especially the door of the Palace of the 
Cardinal of Corneto, once Torlonia, now Giraud, on 
Borgo Nuovo, piazza Scossacavalli. 


Plan and numerous studies for St. Peter’s Church. 


House in Strada de Chiavari at Piazza dei Satiri—mNum- 
ber on Nolli’s ancient plan of Rome is ‘‘vers le No. 
633.” Fine Staircase. Bas-reliefs in Court Walls. House 
No. 5 Via Governo Vecchio. 


Window and balcony of the Palace dei Convertendi on 
Borgo Nuovo, beyond the piazza Scossacavalli. 


1525—Ossoli Palace at Corner of Vicolo dei Balestrari 
and Piazza Spada (PI. 15-16). 


Ricciardi, or Costa Palace, Borgo Nuovo, also attributed 
to San Gallo and Raphael, but a sketch in the Uffizi, 
drawn by “Ciro Ferri, from Peruzzi’, would seem to 
prove it Peruzzi’s design. First story rusticated. Flat 


_ arches over windows and doors (Pl. 25). 


1524-9—Tomb of Adrian VI., in S. M. Dell’Anima and 


also the three entrance doors of this church. 


Chigi Chapel (with Raphael) in S$. M. del Popolo (PI. 


0), 


House No. 7, Via di Parione and fine frescoes (Pl. 24). 


1534.6—Palace Altemps, Piazza Fiametta, finished by 
Martino Lunghi (Pl. 65). 


Little Palace Altieri, Via Delfini XI. 9, with fine fres- 


coed loggia on “piano nobile’’, in little court. 


82 


Serlio— 
Letarouilly— 
Letarouilly— 


Worthington 
& C. W.— 


Le Monnier’s 


Edit. of Vasari. 


Burckhardt. 
Ufizi— 


Vasari 
and Others. 


Frizzoni— 


Miuntz— 


LIER COA NDO aOR ae 8 


Palace Orsini in ancient Theatre of Marcellus, and door- 
way (Rivers 


A house in Via Mortserrato VIII. 6. Motto on frieze of 
doorway, “Trahit Sua Quemque Voluptas (Pl. 23). 


Vigna di Papa Giulio on Via Flaminia (Pl. 27). 


House next to Lante Palace, Piazza Caprettari, showing 
pure Peruzzian details (Pl. 23) like Palace Ossoli. About 


1525. 
House No. 5 Via Governo Vecchio (PI. 23). 


Church and convent of Santa Spirito: in Sassia, Tras- 
tevere. Palazetto Spada in Via di Capo di Ferro (not 
the Palazzo Spada) (Pl. 26). 


Villa at Salone, 7% miles from Rome for Cardinal Tri- 


vulzi, and frescoes therein (Pl. 17). 


Massimi palace, 1532-7, for Pietro and Angelo Massimi 
(Ely 77a 

Chapel of the King of France, St. Peter’s. 

Palace No. 35 Via Capelle. 


PARIS 


Drawings, etc. 


In Louvre. “Triumph of a Roman Emperor”, (wrongly 
attributed to Mantegna), reproduced by Marc Antonio 
Raimondi, also “Madonna covering with a veil the sleep- 
ing Infant Jesus.” 
“Notice des Dessins Places Des Galleries du 
Musee Royale au Louvre.’ Paris, 1841, 1.e., 


Musee des Beaux Arts. Sketch of Nude Figures. 
Catalogue— 

No. 492—Sketch for “Presentation in the Temple,” pen 
drawing in wash heightened with white. 

No. 493—‘‘Adoration of the Magi,” pen drawing height- 
ened with white. 

No. 494—‘‘La Calomnie d’Appeles,” wash drawing 
heightened with white. 

No. 495—Decoration of an altar ornamented with pilas- 
ters of the composite order—Pen and wash drawing. 
No. 496—Five unknown personages. ‘This drawing is 


Morelli— 


Morelli— 


Berenson— 


Bele DAS SAR E> PIOR WZ ZI 83 


supposed to have been made from the decoration of a 
hall in Siena which was part of the building of the Con- 
sistorio. Pen and wash drawing. 

No. 497—Project of a monument in honor of a Warrior. 
Pen and wash drawing heightened with white. 

No. 498—Composition “Allegorical.” (See Vasari’s ac- 
count of Peruzzi). Pen and wash drawing in bistre. 
(Collections Vasari and Mariette.) 


Tauzia Catalogue—No. 1967—‘“Episode from Roman 
History,” on screen in Room X, under name of Sodoma, 
(wrongly). 


Bibliotheque Nationale, Paris 
Collection M.A. Armond 


No. 4677. “Venus and Love,” a drawing. 
No. 4678. “The Fall of Phaeton” and “The Judgment 


of Paris,’ a design for a ceiling (Uffizi Collection). 
Morelli thinks, however, this is by Sodoma. 


Lyons 


Painting of Young Medici prince as warrior with axe 
—other two in Boston, Mass., Gardner Museum. 


MONTPELLIER 


Montpellier Gallery, No. 577—“A Bust of a Young 
Man.” 


"TURIN 


Head. (Drawing in red and black crayon with features 
and smile a la Raphael). No. 129. Room V. or VI. in 
Regia Pinacoteca. 

ING. 113i. Facade.” 

In Palazzo Reale. “Design for High Altar of Duomo, 


Brena. (.Lastrotyle.)) (Pl 73)) 


“Architecture of Street” (Pl. 82). 


BERLIN 


Berlin Museum, “Charity.” Magazine, 93—“Annuncia- 
tion.” (First Style.) 


84 


Frizzoni— 


Berenson— 


Berenson— 


Berenson— 


Berenson— 


Berenson 


ET EPE ANDRE Serer 


HaNnovER—GERMANY 


“Tucretia Stabbing Herself.’”—Collection of Herr Kast- 
ner. 


DrESDEN—GERMANY 


Study for Hercules. (Second Style.) No. 99. 
“Adoration of Magi.” 


MunlicH 


Art Gallery, No. 1052—Portrait of Bindo Altoviti. 


MUNSTER IN VV 


No. 40-—‘‘Madonna and Infant St. John.” 


VIENNA 


Court Library. Square plan for Villa of the Farnese at 
Caprarola. Others at Siena and Florence (Uffizi). In 
the Albertina also, a design for ornamentation of apse of 
the Duomo at Siena, also a Design for an Altar; below, 
the Madonna standing in a niche, and four saints; above 
‘The Eternal Father surrounded by angels. 


Boston, Mass. 


1505-10—In Gardner Museum. ‘Iwo paintings of 
Medici princes as young warriors. 


Museum of Fine Arts (In storage). Paintings on two 
small wooden doors of Saints, Sebastian, Christopher, 
Rocca and Anthony, Abbot. Loaned by Prof. ‘Thomas 
Whittemore—Sebastian’s face is in a “Perugino Man- 
ner.” ‘These are probably the doors Peruzzi painted at 
Cerreto-Ciampoli, mentioned by Della Vale. 


Nrw YORK” Nol Y.-—U sore 


Metropolitan Museum of Fine Arts. Five sketches, 
architectural details and figures. 

Early study for the fresco in Fontegiusta, Siena. (Last 
Style.) (Pl. 68.) ‘Triumph of a Roman Emperor. (Sec- 


Professor 
Elia 
Volpi 


go AN SAL ERR ZZ, Lf 85 


ond Style.) (PI. 32.) and “Continence of Scipio.” See 
“Madrid” (No. 574). 

Four sketches in possession of Lawrence Grant White, 
sanwie. UL jer planionr oc eters) (Pl. 43); (2) An- 
other plan with letters like Peruzzi’s, but embodying 
Michel Angelo’s later executed design with a different 
nave (Pl. 43). Across the front wall of plan No. 2, 
is lettered “Il tuto dela muro della fallaia’(?), palmi 
292. (3) Two other drawings bearing Peruzzi’s name. 
(4) One other lettered on back ‘“Prospettiva della Bo- 
logna” and below it “Vaticano.” 

For further details of his sketches in the Uffizi Collection 
and a complete list, see Milanesi’s catalogue and the Uffizi 
“Indice Geografico Analitico dei Disegni, etc., Roma, 
1895. 


ates OUIs alos we S.A 


1510-12—Portrait of Peruzzi in oil by himself (Front- 
ispiece). Owned by Jackson Johnson Esq. 


PLATE I 


oy 


vey 


# 
ca’ 
tte, 


Rtaras 
a0thes 
tees 


as 
a 


a 
os 


Siena in 1500 
“TApparita,” near Siena 


Ry 


ial 


PUATE:2 


Cs 


# 


4 


WAL pp 


“ 


oe 


* 


From Peruzzi’s Sketch Book—Siena 


i 


7 


The Doorway of Fonte Giusta—Siena, 1489 
By Francesco di Giorgio 


4 


ATE 


PE 


Ag 


SEL 


MEST oa ad 


= 


‘ = = 
Bsa t6GSey 


yy, 


Candelabra Sketches by Peruzzi—Ufhzi 


i 
Ey 
| 


cis 


Sketch 


of Roman Remains—U ffizi 


} 
+ 


PLATE 6 


BUdTS 


eyetdajeA IA Ul OURTSeEqag URS 


(UMBIP-dy ) 
(29) 
WAFER ORIN 


BLATT ES 


‘ 


a 
\ 


x 
\ 
V4 x 
. } 
oy ge eZ aes 


< 
“NN 


— = 5 sey 
>S 


Villa Chigi or “Le Volte,” and Rear View—Now Villa Mieli—Near Siena 


a 


PLATE $ 


SoS1r ‘euals 


TeaN— (TPA 


10) ISIYD PIILA JO JU0IT 


PEATE © 


[rex] 


awoYy 


* 

ae 
i 
i 
Sees 


‘ 


0990% 


S Jo yoInyD 


IsIIY Jo WIG 


‘aMOoy “oox0y ‘*S Jo YInyD 


id 
~ 
{> ,.% 
b ’ 
7 
4 ‘ 
a 
AF : 
i 
rs 
- 
.¥ 


PLATE 


IO 


Mosaic, Ceiling, Crypt S$. Gerusalemme—Rome 


y 
t _ ‘ 
‘ 
s 
. & x 
% q m x 
. > 3 . ’ 
. 3h *y ‘ 
‘ % < . " ’ 
re i « 
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ie ; ; A i ! 
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n 
2 ' : . 
.* " 
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‘ v 2 
} 
' : 
- ; f = fae 
es PH - hs st . : 
) 
. { . 


PLATE II 


e108 ce) 


IZZniag pue sjuRWRIg 
Y—luipueg—tuetuijsniy soeleg 


“- 


PUATE 12 


IWIOY—AIIAIISEA TL 


‘QoR[eq BUISIUIL 


kK 


IWOY—IIV[ Vg VUISIUILY 3} JO ad1UIOD puUeR dzdIIY 


—: 


sWOYy—LINID VIA—2L]eq IPI 


Foxy. 2 


PR ER TESS SSP OY 


“ABMIOO(] 


IWOY— (B]JIABN 10) 


BoIUWOG 


UL vIIeI 


i 
i 
i 
| 


S 


yo1og 


' 
+ 


D) mh g 
PLATE 15 


caine Nant 


Ossoli Palace—Rome 


a 


naa 


ee Ty 


ial re. Mey) Ph Ss ws eke’ a + 


fy giles 


4 


:- Py 
fa a nal 
Bo Bed ca : 
* aa 
: > +. 
a Pet 
uh ‘ ; 
ory ts a om 
: oe. ee" =. 
» * 
a r i 
mS. BA ge: 4 
i 
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1 yr 4 
x ‘ 
pe Ce ae 
5 
tig” 
4 
4 4 a 
> - 
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f 
= 
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+ \ 
~ 
7 . 
° 
a 


E16 


PLAT 


uvtid 


sWlOY—lIvIjJsojveg VIA—sdE|eq I[OSsC 


JOUR IVUY 


PLATE 17 


® 


a 
° 
oN 
o] 
ie} 
peel, 
Zz 
® 
G 
D 
\ 
\ 
| 


Y 
, (4) 
“VINEYARE [oR GARDEN: 
© 
D 
O 
C 
Q CS) 
he 01 
4, : 2 
eyo ed \@ ate 
ey S 2 Dag Ores 
Se = Ze ~ - 
oo . 
Trees 


=— =x wn Ow Um 
—, 
TTT 

«nA Rm HK 


Villa at Salone 


a iJ 
tes 
Sy hy 


ATE 18 


Br 


(S19}9q "39) 
‘yoIny 


‘ueld yojays Ajieq 


BIVIIIJ—o0e|[eg 
Itadsolg IO Weiovg sy, 


(Izu) ewoy fos105 “(t[rqeinouy 1]Sap ) 
BISNSNY Ul OULODRIL) “Gg IOF YD}I¥S 


PLATE 19 


ewoy—o]odog [ap ‘J ‘Ss Jedeug 


ISIYD 


— 


20 


< 
bi 


RELATE 


BUIIG—}YSII 0} 
‘I9SIO[) puke OUNIeYyY URS Jo YyIInYyD 0; 


Apnis 


UOTI[]0) IZIBY—esh ‘oN WoI1y—,ojodog [ap Nez ],, 
"OUT}BI} OAOSSIA [I,, IOF JadeyD 


—,o1ouid 3}Ju0u Uy, | 


PATE 21 


S. Eligio—Rome 


PLATE 22 


FI a}e[q 298 ,{Y,, 10op 104 (‘JOO IzyjQ) USIsep Sizzniaq Wo} OIsOg Aq Ue[q 


oe 


‘ued uo (g,, 1aAO JATIOJ, URIPKT[ed ‘IWOY—INIDH VIA UI dK eq DIpa|l 


Syeasett agit 


& 


aig 


os ae) 


> 


wy ova Ay nerd we 


hye 


Montserrato 
he Lante on 


In Via 
joining t 


Palace ad 


ini 


House 5, Governo Vecchio 
Ors Palace—Rome 


i—Rome 


Piazza Caprettar 


Cola 
reat 
= a. 


” 
Pay 


EVATE 4 


Ceiling in Palace Montalto No. 7 Via Parione—Rome 


w 


PRATER 25 


I 


steekis an nr anne’ 


ti Meszseccasssese## 


‘fA 


ae 


Costa Palace, Borgo Nuovo—Rome 


Attributed variously to Pe1 


, Raphael and San Gallo 


. 


[uUZZ1 


PLATE 26 


Palazetto Spada—Rome 


PUA ee 27 


3WO 


Ye rue | 


BIA— TIT sntjnf{ adog jo eusi, 


+ 
et 
re 


* 


PLATE 28 


The Plan and Exterior of the Duomo at Carpi 


PEATEY29 


ee 


Basilica e Convento di S. Nicolé 


Basilica and Convent di S. Nicolo—Carpi 


a ti 
if 
* 
y 
¢ 


i- = 


4 


* 
<.aray 
* 


- t 
. 
» 
y 
MG Ps 
hel 
ih 
; ve 
- 
4 
Eg 
et 
as 


ee 


ae 


PEATE =30 


IdivQ—,,eIseg eT, 


owon(d JIP[O ay J, 


PLATE S31 


i 


”__Carp 


“La Sagra 


le and 


The Campani 


The Arcade or “High Portico”—Carpi 


PPA TE: 32 


Console design 
Triumph of a Roman Emperor (Vespasian?) 
Sketches by Peruzzi, in New York Metropolitan Museum of Art 


<a 4 J * ¥ 
* 7 : s "| ’ ’ 
‘ : ¥ ates 2 
‘ om ‘ 1 y 
‘ 
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be a ¥ 
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a 
4 ‘ 
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j Bs j 
- | 
- : | 
{ 
| 
. 
E a . 


PRUATE: 3 3 


Fresco in Ponzetti Chapel, Santa Maria della Pace—Rome 


PLATE 34 


aWoY—adeg PI[IP 


W 


S 


‘ 


ajduia fy, ay} Ul UOTeUASaTg ay] 


PLATE 35 


é 
3 
? 
t 


IZZnIdq Aq auadg 991} AUD B OF UBISAG 


i] 
‘ ‘ 
’ 
se 
; 
is 
é 


1 Se 


PLATE 36 


Ol[tag Wo1y—oawoy ‘s.19}aq IG IOF UR S,izzn19g 


IpO[—euoIzejosuo) eI]aIp "J ‘Ss 


& 


PLATE 87 


Pantheonic Church Plans. Possibly studies for St. Peter’s, Rome. From Peruzzi’s 
sketches in the Uffizi—Florence 


@ 


PLATE 38 


(iat) = ewWod eo yiper usioue: Mee s0 (Izzndag)—IZIj() Ul IW ax] Ue[d—~e 


suInI UO orsopidwuey ayy, Ivou “YoInyD JOF ueld eusojog ‘osruawmiog “¢ ‘jadeyD IpreypIstyg—ti 


ba § 20 we amish vs 30. 


an 
panne 


? 
& 


bigtime cts 


eobind ies 


S 


‘ 


19}9q 


IS A[qeqorg—(Iz1pN) surg YounyD 10F 


saripnig 


peg Re WS Oia 


‘ 
r . . . # 
- Les * 
‘ 
J 
‘ 3 ’ 
a t 7 > 
. - S = . 
i 5 
” . 
t= x ca iv > 
. m = er 
- . - 7 + 
. 
~ , 
. i - 
. 4 
- - e 
‘ > 
, 
: 
' 
. £ e 1 
. 
- can z 
* 2 PY 
mS 
“ } | 
2 
= { 
: | 
F . 
. | 
; | 
a ' 
P - , 
- . 
= f 
t 2 i 
. . : 


. 


PLATE 40 


; 


ce caviggerigs omen oneonaesnapa 


scot geaanoatvinre nse ASNT RIAN 


Various Studies by Peruzzi for St. Peter’s, etc.—( Uffizi) 


LATE 4I 


P 


Ss 


‘ 


1ajag ‘1$ Alqeqor 


aa 


( 


Izy) sue[d yornyD 


of sarpnig 


v 


(Izy. )—tzznrag Aq SorIpnig 2214], 


Bseoinenttviencssaawiie 


‘“YODIadS WwW 


atone nisi Rc soakceRa BANOS RU OBES 


a = s 
: Be ee eee! ioc 


ee eins 


Ce 


sinianeness 


; 
& 


agence 


es 


Z i 
ey ce 


sas 


Ss ae o A 


UONII{[OD YAK WRI, IUTIMET - 
‘OU () OZBIg ‘OI ‘ON,, PUD ,,ASIUIG 1INAJI AVSPIVG,, PIUBIS ‘S.12}9q “IG 10f UL[q—~e 


ifs 


SIZZNI9g ayt] Sursiaya] *(,,01 — 907 =) ,,c62 mujvg vo11gvf vijap v//u vjap 071M} ]1,, PatayayT ‘uvwIs}ysneIp UMOUyUN Aq §,19}9q I$ 1OF UR[qG—I 


oe 


“l 4 


@ 


PrATE 44 


9 apes 6 os b ; SEN ae 2 - 
i y phir re ‘ A ae . ANS : ; : sige pet 


Peruzzi’s Design for Front of S. Petronio, Bologna. From Stegman & Von 
Geymiller’s “Di Architektur der Renaissance in Toscana”—F. Bruckman, Min- 
chen, and Architectural Book Publishing Co., New York 


=* ° ' 1 
. ; 7 
~ ‘ 
hg ‘ 5 . 
are ; . ‘ 
- : & a 
ie F . - , 
x - ‘ = i ‘ 
hes , 7 * 7 
* 4 . . < . 
+ . > vx » ‘ 
= . . 
® . . 
7 bya) » © te _ 
~ - ’ 
t - \ , 2 
* * 
f ‘ 
"i } 
— t 
" : Y 
" e = 
’ + 
. c 
‘ ‘ ¥ 
. . 5S 2 , | 
> 
“i * | - 
r 
. 
. 


A—Well at Villa Vicobello 
B—Court_at Villa Celsa 
C—Garden at Villa Vicobello 
D—Candelabra by Peruzzi—(Ufhizi Coll.) 


i BS[IQ PIJIA—]edeyO BUdsIS—eI[[OWRD vI0g euso[og—eial][eH ‘J ‘S JO Ie] ye 100q 


a 


UATE a4 7 


Albergati Palace—Bologna 


i 
* 
4 . 
* 
f 
4 
‘ " 
X & 
“ 
* 
* 
A 
~ 
‘ 
. 


PLATE 48 


vusojog—iusedwoou0g ave ‘pivdAjinoj—z 
vusojoqg—iusedwoou0g dadovjedg ‘0ueI}Uq—I 


= 


BGS 


Bologna 


, formerly Monari— 


ioresi 


F 


Palace 


F 
° 
y 
: 
e 
r 
3 
"e 
. 
oa : 


Py 


PLATE; 50 


vuso[og—oaoe|edg 


o1qnd Ul MOpUrAA 


euso[og—aor[eg o1[qng ‘o}VIss0'T 


ceerooot aR 


- 


UL 


SS2 See as aS ae 


Sh 


Ras 


ab 


S. Michele in Bosco—Bologna. 


f same 


1ew oO 


. 
y 


rspective v 


Smaller pe 


the door open 


7 


Doorway. 


ing 


set in 


42 
Ess 
2 
& 
s 
* 
* 
Jct 
- 
. 
. ’ 
*, 
- ‘ 
% e 
cm, 9 
sy 
. A 
wy Acre Z 
t 
‘ s 
> 
7 
* . 
5 
. 


PLATE 52 


ee 2 A a ok et ee 
DS nanwenme ae eee 


Bus! 


Smpoleas 


hed do 


ydsoy 


‘BUTTIID 


nine 


eusIg—owong UI 


ase UPSIO 


a 


az 


PLATE 54 


vudsIg—PI][OWeD) v}IIOg aprsjno jadeyD 


BLATESSS 


C Peipyoenge T6Me b fg ‘ 
Seene GUE fore 4 bole jens 


ae OE 9s ee | 


“ Ee: 
sit 
: Sees se Rt af. WA Ss og 
: on) = fore ht Cordieng corde ne Ff 
oe (an Hp is 


é 
et p08 ibgsane 4 “Guerde nt 
” ie ansbihe ria open 


ae wee 6 ot AB hem, Prt weeny dike Comaaseor? 
ene ih metre maine Bd mts Allaye 9: tm 
Le ie cea \sereloges Re ee oe Beis ae j 


se ? eggs eee 3 
preppy oe Nine eg ain Sal Condene Oa oe. Sou yas sevens We adlesae 5 Sehtne slower she a a 


oe send ssseepnae a regent get pe eat le 
. : : 


“adlnpcioe ons ae ee 
be ak be pint Span porte aide 
a B gece. as Gi “4 ate << 


fot ae om = 


Yow tot 
Salata (ats ok Cavilént” See EEE 


Pee | 4 * 
i Cat a 


Mocenni or Francesconi Palace, Via Cavour—Siena 
Peruzzi’s Study for a Castello—( Uffizi) 


~ 
: 


PLATE 56 


Court of St. Catherine’s House—Siena 


ae 


’ 


See alten ae oe ett 


PLATE 57 


BUudTg—osSnopP{ uM() S IZZN1I9q 


a 
c 
be 
be: 


BUIIGS—IZZNIag aiussepleg eid Ve ‘ON asnopP 


os 


ay 


tr 


PLATE 58 


Cloister of San Martino—Siena 


7" . * : - 
| FS ~ 
; a ; * 4 ‘ , 
4 bs = t-* 2 ae 
b ma Mai ; i t 
‘ . ‘ae “ ¥ 
A y 
4 ' ) . P te 
. j 
: " { . 
“ae . < ‘ “ } 3 
~ a : 
2 > 
= be : a > 
+ 1 ~ i od 
. 
oe : ‘ ‘ 
’ - y ! * 
ri t . = 3 ¢ 
« 4 ‘ 
. 2 7 . e 
: 
2 4 iJ 
F ry - 
: vi 
} 
. u . 
vite 5 ee ] 
, 
: Md ? ‘ 7: 
. . . * } 
. 
5 s * 
o | 
- 
A ; 
= 7 | 
/ —_— - 
2 . 


CT 


PATE 5 


BUOI 


S—IzZued19 I 


Ip BIBs07T 


yeag 


. 
& 
’ 


at. 


§ 
4g OSS 
r 
eel 
- 
~ 
~ 
7a 
. 


~~ 


PLATE 60 


Siena 


San Giuseppe 


Te 


» 


PLATE 61 


Villa Santa Columba—Near Sienna 


"a 


PLATE 62 


IUBIIBJAY OT10}IA ‘Jorg Aq 


pe10}say 


‘BUdIg IBdU 


‘es[ay BTIIA 


PLATE 63 


Panteone di Pontremoli or Santa Elisabetta—Viterbo 


7 


LanoD Nado- 


TOO D Nado- 


a 
* 


ei me 


a led: 


ippa. 


), on the Ruins of the Baths of Agr 


ini 


liano (Ors 


itig 


Peruzzi’s Plan for Palace for Conte di 


Uffizi Collection) 


om 


(Fr 


Behind the Pantheon—Rome. 


5 


PLATE. O 


a 


Bes 


Altemps Palace—Rome 


PLATE 66 


Kes 


— 
si 
SS 


even esa 


ss 


ar aS 


Me 


%. 


Bl 


Mi 


Rh BANAG AAMAS AAR ARRAN 
$3 


Pollini Pallice-—Siena. Sketch by Claude Bragdon in “Minor Palaces of Italy” 
Courtesy of The Cutler Co. 
Above, Fresco “Adoration of the Mag?” 


PLATE 67 


Se 
t 
hk 
ee 


eee PRE aN SpE SANS 
i 
uN 2 
“ 


| 


‘SECTION: 


ae 
tN 


Ss 


ER:.WINDOWS- 


‘ 
‘ 


TRING 


4 
Se 


KR “, 
1 ko 


OF TRAVERTINE- 


‘MIDDL 


‘LOWEK: 
STPINCCOCY IRE. . 
“91 KI NGCOURSE 
OF BRICK —TEAVERTINE ENDS, 


Pa 


CORNICE ~ | 


ee a eee 
SECTION: 
i eS f 


xs 
ee 
oe ieee 


LT EE BL eee | - 


q 2 


8 
{ 


47 
Se, Vix 
ABOVE ° ae 


: i 


sondern 


ACE» SIENA*}-- 32° ~-4 


Details of Pollini Palace—Siena 
By Prof. Vittorio Mariani and W. W. Kent and W. H. Kilham 


PLATE 68 


a ne ee 


Sketch in New York Metropolitan Museum of Art by Peruzzi. Signed “Petruccio da Siena.” 
“Sibyl foretelling the Birth of Christ to Emperor Augustus” 


~ 
> 


. 
. 
ta 
_ e 
, 
- 
- 
? 
* 
+ r 
’ 
. 
- 
. « 
2 
- i: 
- 


PLATE 69 


Church of the Servi (S. Giovanni in Pantaneto)—Siena 


5 ao is 
‘ 
* 
f P “ 
‘ ¢ . 
. 
? 
. i 
‘ 
. 
. ’ 
s 
. if Ws 
‘ 
# 
> aa ee ee 
a # - ‘ Y i 
a nh iy 
« Le -” 
. f r. _ “ i 
“<> 2 i, a 
} > Pp) 
. * < 
ag . ’ 
vi i . . ’ ’ * 
ig 4 ? 
A - 
. b > of 
¥ . 
‘ aa. 
F ’ 
= % 
Fe 
; 7 
- , ‘ 
‘ ¥ i 
»* * 
t bd 
x 
. 7 rh 
. vit - 
z i ‘ 5 
. i 
s de, 
fl bn 
. ‘ . 4 
- “ syn a 
or? i :; 
i 
) 
<> - 
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i 
» ‘ - 
. ; . 
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. 
4 
= 
LP . 
- 
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3 pre : 
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= Si 2 *,¢ 
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7 » ’ J ~* 
: Nees ee F 
~ - . < 
SS ee a = 4 t s A : 7 : 
at s 4 ~ »e 
' . 9 ey - x 
, et G3 J 
m +, ay ‘ 7 # is 
_ . a Z F 
— i ‘ona + a“ ¢ . 
* i i P . ‘ 
5 : -. v8 the 
. - $ a o 
« e \ . M . ‘ — o r. 
* - — ‘a i * a," 
t q - = ‘ eS ‘ 
; b 
« J Md 
rn ea ch we ‘ by - 
i ; 
° , 
‘ 
. 
. é - 


PLATE. 70 


Tower, Carmine Church—Siena 


i 


cn 


PLATE 7I 


BUdIS—oUIWItDY aq} Fo YOInyD ‘Ia}sto0[D 


% 


PLATE 2 


sorpnys 


suIOJ UoTseg Jo Izzn1aq Aq suvjd eI[IA “BoNRJoU puR I IOs 


ue|d Areuruitjaid S 


IZZ019 


be 


d ‘(zug )—ueld s’q ‘g pue ‘pjoreidedg ye ,,e000Y,, 10 BIIIA 


PLATE 73 


Ecce ieee: om ise 


Be ees ren SNCS. 


asebbion 


: 


Sketch for High Altar in Duomo—Siena 


PLATE 74 


Trilingo J8 
Sale : oes 


Villa Belcaro, near Siena—(Uffizi). Peruzzi’s sketch plan and fresco “Judgement of Paris” 


1 
/ 
A. . 
* 
ae e 
¥ 
i 
> 
‘ 
ie is 
' 


oa 


Villa Belcaro (Courtyard)—Near Siena 


@ 


PEATE. 76 


State 


Tree, 


5, a 2 
ror eed 
2 


iad 


ane eC x : asyaineniah 


Ceiling of the Loggia, Villa Belcaro—Near Siena 


+ 


zy 


oe 


oo, 


» 


Ls 


’ 


“Sanrek <- es ny 


ee Cray: 


PLATE 77 


! 


Caedeyae aE 


“opILuo0d 


AIANNeWS -O1AOLLIA O86, 


2s. 
o> BE=4, O37 
——eeee ° a a VEN CNY 


aU ung “4 OULAId UO 


YY jf 
NL Lif 
VA H> | 


N¥ 1d TANIA 


13 

aro 4 re 

s06« ob) K-24 
ek 


WaINITTS IL 


Z70 
Woox SiN 


all 


UULULUA AM baggy, 


ata 


LLL LLL 


“LUAOD ATO: 


| & 
(" NUFLSID 
“ADV Ted i ee 
S OULAId e 
40d AACALS ae 
WAIUvV apo 
SIzZAddd 


me 


PLATE 78 


4; 


a} 

4 

‘4 
“4 


aa3 
rig) 


Palace of Pietro Massimo 
(Above) Ceiling of small room in same 


“ 


~ 


OUISSEJ, O1JIIG JO ddV[eG—OO}IOg JO SBUI[Ia puke pRayIood asULIUY 1OF YAS 


~ 


oe TAaad 


” 


PLATE 80 


per ian tani ei 


Sketch (Uffizi). Suggesting the Fresco on Soffete of Arch of Chapel at Villa Belcaro—Siena 
Bust of Peruzzi by Dupré, 1853. Accademia Delle Belle Arti—Siena 


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PLATE 81 


A—Ancient Altar, Sketch by Peruzzi—(Ufhzi) 


B—Terra-Cotta. Pianternero or Papal Insignia of Julius II. Della Rovere—in ceiling, 
at Casala della Magliana, near Rome 


C—Canephorae by Peruzzi—(Ufhzi) 


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ATE 82 


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Ancient Roman Street Scene for a Play 


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PLATE 84 


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One of Peruzzi’s Plans for San Domenico—Siena 


PEATE. 85 


Palace in Banchi Vecchi—Rome. Attributed to Peruzzi and to A. Sangallo 


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PLATE 


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Palace of Pietro Massimo—Rome 


Ceiling of second-story Loggetta. 


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